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JOHANN  SEBASTIAN  BACH 


JOHANN  SEBASTIAN  BACH 
HIS  LIFE,  ART,  AND   WORK 

TRANSLATED   FROM  THE   GERMAN   OF 
JOHANN  NIKOLAUS  FORKEL 


WITH  NOTES   AND   APPENDICES   BY 

CHARLES    SANFORD    TERRY 

UTT.D.   CANTAB. 


LONDON 

CONSTABLE  AND  COMPANY  LTD. 
1920 


Printed  in  Great  Britain 


7111^9 


CONTENTS 

PAO» 

INTRODUCTION        .  .  .  .  .  .       ix 

FORKEL'S  PREFACE  .....    xxiv 

CHAP. 

i.  THE  FAMILY  OF  BACH1         f-  .  .  .1 

ii.  THE  CAREER  OF  BACH           .  .  • .  .~      9 

IIA.  BACH  AT  LEIPZIG,  1723-50    .  .  .  .29 

in.  BACH  AS  A  CLAVIER  PLAYER  .  .  .49 

iv.  BACH  THE  ORGANIST.            .  .  .  .61 

v.  BACH  THE  COMPOSER             .  "^  .  .70 

vi.  BACH  THE  COMPOSER — (continued)  .  .  .80 

vn.  BACH  AS  A  TEACHER              .  *  .  .  .       92 

vin.  PERSONAL  CHARACTERISTICS  .  .  .  .106 

ix.  BACH'S  COMPOSITIONS             .  .  ..  .114 

x.  BACH'S  MANUSCRIPTS             .  .  .143 

xi.  THE  GENIUS  OF  BACH           .  .  ,  .147 

APPENDICES 

i.  CHRONOLOGICAL  CATALOGUE  OF  BACH'S  COMPOSITIONS  153 

n.  THE  CHURCH  CANTATAS  ARRANGED  CHRONOLOGICALLY  163 

in.  THE  BACHGESELLSCHAFT  EDITIONS  OF  BACH'S  WORKS  225 

iv.  BIBLIOGRAPHY  OF  BACH  LITERATURE  .  .  .  287 

v.  A  COLLATION  OF  THE  NOVELLO  AND  PETERS  EDITIONS 

OF  THE  ORGAN  WORKS     .  .  .  .294 

vi.  GENEALOGY  OF  THE  FAMILY  OF  BACH  .  .  303 

INDEX        .."          .  .  .  .  *  .  311 

i  It  should  be  stated  that  the  original  has  no  chapter  headings. 


ILLUSTRATIONS 

JOHANN  SEBASTIAN  BACH.  circ.  1720.  (From  the 
picture  by  Johann  Jak.  Ihle  in  the  Bach  Museum, 
Eisenach  .,  Frontispiece 

BACH'S  HOME  AT  EISENACH  (now  the  Bach  Museum)  To  face  page  8 

THE  CHURCH  AND  SCHOOL  OF  ST.  THOMAS,  LEIPZIG, 

in  1723  .  .  ...  23 

JOHANN  SEBASTIAN  BACH,  1746.  (From  the  picture 
by  Elias  Gottlieb  Haussmann,  formerly  in  St. 
Thomas's  School,  now  in  the  Municipal  Museum, 
Leipzig)  .....  48 

THE  BACH  STATUE  at  EISENACH    ...  70 

J^  Cw«  \STIAN  BACH.     (From  the  picture  dis- 

covered by  Protesso.  *"  -'*•»  Volbach       .  .  92 

THE  BACH  STATUE  AT  LEIPZIG      .  .  .  '  ec° 


. 


INTRODUCTION 

JOHANN  NIKOLAUS  FoRKEL,  author  of  the  mono- 
graph of  which  the  following  pages  afford  a  trans- 
lation, was  born  at  Meeder,  a  small  village  in  Saxe- 
Coburg,  on  February  22,  1749,  seventeen  months 
before  the  death  of  Johann  Sebastian  Bach,  whose 
first  biographer  he  became.  Presumably  he  would 
have  followed  the  craft  of  his  father,  the  village 
shoemaker,  had  not  an  insatiable  love  of  music 
seized  him  in  early  years.  He  obtained  books, 
and  studied  them  with  the  village  schoolmaster. 
In  particular  he  profited  by  the  '  VoUkommener 
Kapellmeister '  of  Johann  Mattheson,  of  Ham- 
burg, the  sometime  friend  of  Handel.  Like  Handel, 
he  found  a  derelict  Clavier  hi  the  attic  of  his  home 
and  acquired  proficiency  upon  it. 

Forkel's  professional  career,  like  Bach's  half  a 
century  earlier,  began  at  Liineburg,  where,  at  the 
age  of  thirteen  (1762),  he  was  admitted  to  the  choir 
of  the  parish  church.  Thence,  at  the  age  of 
seventeen  (1766),  he  proceeded  to  Schwerin  as 
'  Chorprafect,'  and  enjoyed  the  favour  of  the 
Grand  Duke.  Three  years  later  he  betook  him- 
self (1769),  at  the  age  of  twenty,  to  the  University 


x  JOHANN  SEBASTIAN  BACH 

of  Gottingen,  which  he  entered  as  a  law  student, 
though  a  slender  purse  compelled  him  to  give 
music  lessons  for  a  livelihood.  He  used  his  oppor- 
tunity to  acquire  a  knowledge  of  modern  languages, 
which  stood  him  in  good  stead  later,  when  his 
researches  required  him  to  explore  foreign  litera- 
tures. Concurrently  he  pursued  his  musical  activi- 
ties, and  in  1774  published  at  Gottingen  his  first 
work,  '  Ueber  die  Theorie  der  Musik,'  advocating 
the  foundation  of  a  music  lectureship  in  the  Uni- 
versity. Four  years  later  (1778)  he  was  appointed 
its  Director  of  Music,  and  from  1779  to  1815  con- 
ducted the  weekly  concerts  of  the  Sing-Akademie. 
In  1780  he  received  from  the  University  the 
doctorate  of  philosophy.  The  rest  of  his  life  was 
spent  at  Gottingen,  where  he  died  on  March  17, 
1818,  having  just  completed  his  sixty  -ninth 
year. 

That  Forkel  is  remembered  at  all  is  due  solely 
to  his  monograph  on  Bach.  Written  at  a  time 
when  Bach's  greatness  was  realised  in  hardly  any 
quarter,  the  book  claimed  for  him  pre-eminence 
which  a  tardily  enlightened  world  since  has  con- 
ceded him.  By  his  generation  Forkel  was  esteemed 
chiefly  for  his  literary  activity,  critical  ability,  and 
merit  as  a  composer.  His  principal  work,  '  Allge- 
meine  Geschichte  der  Musik,'  was  published  in 
two  volumes  at  Leipzig  in  1788  and  1801.  Carl 
Friedrich  Zelter,  Goethe's  friend  and  correspond- 
ent, dismissed  the  book  contemptuously  as  that  of 


INTRODUCTION  xi 

an  author  who  had  '  set  out  to  write  a  history  of 
music,  but  came  to  an  end  just  where  the  history 
of  music  begins.'  Forkel's  work,  in  fact,  breaks 
off  at  the  sixteenth  century.  But  the  curtailed 
'  History  '  cleared  the  way  for  the  monograph  on 
Bach,  a  more  valuable  contribution  to  the  litera- 
ture of  music.  Forkel  already  had  published,  in 
three  volumes,  at  Gotha  in  1778,  his  '  Musikalisch- 
kritisclie  Bibliothek,'  and  in  1792  completed  his 
critical  studies  by  publishing  at  Leipzig  his  '  Allge- 
meine  Liter atur  der  Musik.' 

Forkel  was  also  a  student  of  the  music  of  the 
polyphonic  school.  He  prepared  for  the  press  the 
scores  of  a  number  of  sixteenth  century  Masses, 
Motets,  etc.,  and  fortunately  received  proofs  of 
them  from  the  engraver.  For,  in  1806,  after  the 
Battle  of  Jena,  the  French  impounded  the  plates 
and  melted  them  down.  Forkel's  proofs  are  still 
preserved  in  the  Berlin  Royal  Library.  He  was 
diligent  in  quest  of  Bach's  scattered  MSS.,  and  his 
friendship  with  Bach's  elder  sons,  Carl  Philipp 
Emmanuel  and  Wilhelm  Friedemann,  enabled  him 
to  secure  precious  relics  which  otherwise  might 
have  shared  the  fate  of  too  many  of  Bach's  manu- 
scripts. He  took  an  active  interest  in  the  proposal 
of  Messrs.  Hoffmeister  and  Kuhnel,  predecessors  of 
C.  F.  Peters  at  Leipzig,  to  print  a  '  kritisch- 
korrecte '  edition  of  Bach's  Organ  and  Clavier 
works.  Through  his  friend,  Johann  Gottfried 
Schicht,  afterwards  Cantor  at  St.  Thomas's, 


xii  JOHANN  SEBASTIAN  BACH 

Leipzig,  he  was  also  associated  with  Breitkopf  and 
Haertel's  publication  of  five  of  Bach's  six  extant 
Motets  in  1802-3. 

As  a  composer  Forkel  has  long  ceased  to  be 
remembered.  His  works  include  two  Oratorios, 
'  Hiskias  '  (1789)  and '  Die  Hirten  bey  der  Krippe  ' ; 
four  Cantatas  for  chorus  and  orchestra ;  Clavier 
Concertos,  and  many  Sonatas  and  Variations  for 
the  Harpsichord. 

In  1802,  for  reasons  which  he  explains  in  his 
Preface,  Forkel  published  from  Hoffmeister  and 
Runnel's  '  Bureau  de  Musique  '  his  '  Ueber  Johann 
Sebastian  Bachs  Leben,  Kunst  und  Kunstwerke. 
Fur  patriotische  Verehrer  echter  musikalischer 
Kunst,'  of  which  a  new  edition  was  issued  by 
Peters  in  1855.  The  original  edition  bears  a  dedi- 
cation to  Gottfried  Baron  van  Swieten  *  (1734- 
1803),  Prefect  of  the  Royal  Library,  Vienna,  and 
sometime  Austrian  Ambassador  in  Berlin,  a  friend 
of  Haydn  and  Mozart,  patron  of  Beethoven,  a 
man  whose  age  allowed  him  to  have  seen  Bach, 
and  whose  career  makes  the  association  with  Bach 
that  Forkel' s  dedication  gives  him  not  undeserved. 
It  was  he,  an  ardent  Bach  enthusiast,  who  intro- 
duced the  youthful  Mozart  to  the  music  of  the 
Leipzig  Cantor.  '  I  go  every  Sunday  at  twelve 
o'clock  to  the  Baron  van  Swieten,'  Mozart  writes 
in  1782,  '  where  nothing  is  played  but  Handel  and 

1  '  Seiner    Excellenz    dem    Freyheren    van    Swieten    ehrerbietigst 
gewidmet  von  dem  Verfasser.' 


INTRODUCTION  xiii 

Bach,  and  I  am  now  making  a  collection  of  the 
Fugues  of  Bach.'  The  merit  and  limitations  of 
Forkel's  book  will  be  considered  later.  For  the 
moment  the  fact  deserves  emphasis  that,  inade- 
quate as  it  is,  it  presented  a  fuller  picture  of  Bach 
than  so  far  had  been  drawn,  and  was  the  first  to 
render  the  homage  due  to  his  genius. 

In  an  illuminating  chapter  (xii.),  '  Death  and 
Resurrection,'  Schweitzer  has  told  the  story  of 
the  neglect  that  obscured  Bach's  memory  after 
his  death  in  1750.  Isolated  voices,  raised  here 
and  there,  acclaimed  his  genius.  With  Bach's 
treatise  on  '  The  Art  of  Fugue  '  before  him,  Johann 
Mattheson  (1681-1664),  the  foremost  critic  of  the 
day,  claimed  that  Germany  was  'the  true  home 
of  Organ  music  and  Fugue.'  Friedrich  Wilhelm 
Marpurg  (1718-95),  the  famous  Berlin  theorist, 
expressed  the  same  opinion  in  his  preface  to  the 
edition  of  that  work  published  shortly  after  Bach's 
death.  But  such  appreciations  were  rare.  Little 
of  Bach's  music  was  in  print  and  available  for 
performance  or  critical  judgment.  Even  at  St. 
Thomas's,  Leipzig,  it  suffered  almost  complete 
neglect  until  a  generation  after  Forkel's  death. 
The  bulk  of  Bach's  MSS.  was  divided  among  his 
family,  and  Forkel  himself,  with  unrivalled  oppor- 
tunity to  acquaint  himself  with  the  dimen- 
sions of  Bach's  industry,  knew  little  of  his 
music  except  the  Organ  and  Clavier  composi- 
tions. 


xiv          JOHANN  SEBASTIAN  BACH 

In  these  circumstances  it  is  not  strange  that 
Bach's  memory  waited  for  more  than  half  a 
century  for  a  biographer.  Forkel,  however,  was 
not  the  first  to  assemble  the  known  facts  of 
Bach's  career  or  to  assert  his  place  in  the  music  of 
Germany. 

Putting  aside  Johann  Gottfried  Walther's  brief 
epitome  in  his  '  Lexikon  '  (1732),  the  first  and  most 
important  of  the  early  notices  of  Bach  was  the 
obituary  article,  or  '  Nekrolog,'  contributed  by  his 
son,  Carl  Philipp  Emmanuel,  and  Johann  Friedrich 
Agricola,  one  of  Bach's  most  distinguished  pupils, 
to  the  fourth  volume  of  Mizler's  '  Musikalische 
Bibliothek,'  published  at  Leipzig  in  1754.  The 
authors  of  this  appreciation  give  it  an  intimacy 
which  renders  it  precious.  But  Mizler's  periodical 
was  the  organ  of  a  small  Society,  of  which  Bach 
had  been  a  member,  and  outside  its  associates 
can  have  done  little  to  extend  a  knowledge  of  the 
subject  of  the  memoir. 

Johann  Friedrich  Agricola  contributed  notes 
on  Bach  to  Jakob  Adlung's  '  Musica  mechanica 
Organoedi,'  published  in  two  volumes  at  Berlin  in 
1768.  The  article  is  valuable  chiefly  for  Agricola's 
exposition  of  Bach's  opinions  upon  Organ  and 
Clavier  building. 

With  the  intention  to  represent  him  as  '  the 
coryphaeus  of  all  organists,'  Johann  Adam  Hiller, 
who  a  few  years  later  became  Cantor  at  St. 
Thomas's,  Leipzig,  published  there  in  1784  a 


INTRODUCTION  xv 

brief  account  of  Bach  in  his  '  Lebensbeschrei- 
bungen  beriihmter  Musikgelehrten  und  Tonkunst- 
ler  neuerer  Zeit.' 

Four  years  after  Killer's  notice,  Ernst  Ludwig 
Gerber  published  at  Leipzig,  in  two  volumes, 
1790-92,  his  '  Historisch-biographische  Lexikon 
der  Tonkiinstler.'  As  in  Killer's  case,  Gerber, 
whose  father  had  been  Bach's  pupil,  was  chiefly 
interested  in  Bach  as  an  organist. 

Coincidently  with  Gerber,  another  of  Bach's 
pupils,  Johann  Martin  Schubart,  who  succeeded 
him  at  Weimar  in  1717,  sketched  his  characteristics 
as  a  performer  in  the  '  Aesthetik  der  Tonkunst,' 
published  at  Berlin  by  his  son  in  the  '  Deutschen 
Monatsschrift '  in  1793. 

In  1794  appeared  at  Leipzig  the  first  volume  of  a 
work  which  Spitta  characterises  as  fantastic  and 
unreliable,  so  far  as  it  deals  with  Bach,  Friedrich 
Carl  Gottlieb  Hirsching's  '  Historisch-literarisches 
Handbuch '  of  notable  persons  deceased  in  the 
eighteenth  century.  - 

Last  of  Forkel's  forerunners,  A.  E.  L.  Siebigke 
published  at  Breslau  in  1801  his  '  Museum 
deutscher  Tonkiinstler,'  a  work  which  adds 
nothing  to  our  knowledge  of  Bach's  life,  but 
offers  some  remarks  on  his  style. 

Little,  if  any,  information  of  value,  therefore, 
had  been  added  to  the  '  Nekrolog  '  of  1754  when 
Forkel,  in  1802,  produced  his  monograph  on  Bach 
and  his  music.  Nor,  viewed  as  a  biography,  does 


xvi          JOHANN  SEBASTIAN  BACH 

Forkel  much  enlarge  our  knowledge  of  the  con- 
ditions of  Bach's  life.  He  had  the  advantage  of 
knowing  Bach's  elder  sons,  but  appears  to  have 
lacked  curiosity  regarding  the  circumstances  of 
Bach's  career,  and  to  have  made  no  endeavour  to 
add  to  his  imperfect  information,  even  regarding 
his  hero's  life  at  Leipzig,  upon  which  it  should  have 
been  easy  for  him  to  obtain  details  of  utmost 
interest.  His  monograph,  in  fact,  is  not  a  '  Life  ' 
in  the  biographic  sense,  but  a  critical  appreciation 
of  Bach  as  player,  teacher,  and  composer,  based 
upon  the  Organ  and  Clavier  works,  with  which 
alone  Forkel  was  familiar. 

It  would  be  little  profitable  to  weigh  the  value 
of  Forkel's  criticism.  We  are  tempted  to  the  con- 
clusion that  Bach  appealed  to  him  chiefly  as  a 
supreme  master  of  technique,  and  our  hearts  would 
open  to  him  more  widely  did  not  his  apprecia- 
tion of  Bach  march  with  a  narrow  depreciation 
of  Haydn,  Mozart,  and  Beethoven,  the  last  of 
whom,  he  declared  ex  cathedra,  had  not  produced 
'  a  single  work  which  can  be  called  a  master- 
piece.' Gluck  he  frankly  detested. 

But  Forkel's  monograph  is  notable  on  other 
grounds.  It  was  the  first  to  claim  for  Bach  a 
place  among  the  divinities.  It  used  him  to 
stimulate  a  national  sense  in  his  own  people. 
Bach's  is  the  first  great  voice  from  out  of  Germany 
since  Luther.  Of  Germany's  own  Risorgimento, 
patently  initiated  by  Goethe  a  generation  after 


INTRODUCTION  xvii 

Johann  Sebastian's  death,  Bach  himself  is  the 
harbinger.  In  his  assertion  of  a  distinctive  Ger- 
man musical  art  he  set  an  example  followed  hi 
turn  by  Mozart,  Weber,  and  Wagner.  '  With 
Bach,'  wrote  Wagner, '  the  German  Spirit  was  born 
anew.'  It  is  Forkel's  perpetual  distinction  that 
he  grasped  a  fact  hidden  from  almost  all  but 
himself.  In  his  Preface,  and  more  emphatically 
hi  the  closing  paragraph  of  his  last  Chapter,  he 
presents  Bach  as  the  herald  of  a  German  nation 
yet  unformed. 

It  is  a  farther  distinction  of  Forkel's  monograph 
that  it  made  converts.  With  its  publication  the 
clouds  of  neglect  that  too  long  had  obscured  Bach's 
grandeur  began  to  melt  away,  until  the  dizzy 
altitude  of  his  genius  stood  revealed.  The  publi- 
cation of  the  five  Motets  (1803)  was  followed  by 
that  of  the  Magnificat  in  1811,  and  of  the  Mass 
inAinl818.  A  beginning  was  made  with  the 
Cantatas  in  1821,  when  Breitkopf  and  Haertel 
published  '  Ein'  feste  Burg '  (No.  80),  commended 
in  an  article  written  (1822)  by  Johann  Fried- 
rich  Rochlitz  (1769-1842),  the  champion  of  Beet- 
hoven, as  now  of  Bach.  Another  enthusiastic 
pioneer  was  Carl  Friedrich  Zelter  (1758-1832), 
conductor  of  the  Berlin  Sing-Akademie,  who 
called  Bach  *  a  sign  of  God,  clear,  yet  inexplicable.' 
To  him  in  large  measure  was  due  the  memorable 
revival  of  the  '  St.  Matthew  Passion  '  at  Berlin, 
which  the  youthful  Mendelssohn,  Zelter's  pupil, 
b 


xviii        JOHANN  SEBASTIAN  BACH 

conducted  in  March  1829,  exactly  one  hundred 
years  after  the  first  production  of  the  mighty  work 
at  Leipzig.  In  the  following  years  it  was  given 
at  Dresden  and  many  other  German  towns. 
Leipzig  heard  it  again  after  a  barren  interval  in 
1841,  and  did  tardy  homage  to  its  incomparable 
composer  by  erecting  (1843)  the  statue  that 
stands  hi  the  shadow  of  St.  Thomas's  Church, 
hard  by  the  Cantor's  home  for  a  quarter  of  a 
century. 

Meanwhile,  in  1830  and  1831  the  '  St.  Matthew 
Passion '  and  '  St.  John  Passion '  had  been  en- 
graved, and  by  1845  the  B  minor  Mass  was  in 
print.  The  credit  of  having  revived  it  belongs  to 
Johann  Nepomuk  Schelble  (1789-1837),  conductor 
of  the  Frankfort  Caecilienverein,  though  the  Berlin 
Sing-Akademie  was  the  first  to  give  a  performance, 
considerably  curtailed,  of  the  whole  work  in  1835. 
A  little  later,  in  the  middle  of  the  forties,  Peters 
began  to  issue  his  '  kritisch-korrecte  '  edition  of 
the  Organ  works,  which  at  length  made  Bach 
widely  known  among  organists.  But  the  publi- 
cation of  the  Cantatas  proceeded  slowly.  Only 
fourteen  of  them  were  in  print  in  1850,  when  the 
foundation  of  the  Bachgesellschaft,  on  the  centen- 
ary of  Bach's  death,  focused  a  world-wide  homage. 
When  it  dissolved  in  1900  its  mission  was  accom- 
plished, the  entire  works  l  of  Bach  were  published, 

1  So  far  the  New  Bachgesellschaft  has  published  only  a  single 
Cantata  overlooked  by  the  old  Society.  See  infra,  p.  280. 


INTRODUCTION  xix 

and  the  vast  range  of  his  genius  was  patent  to  the 
world. 

It  remains  to  discuss  the  first  English  version  of 
Forkel's  monograph,  published  in  1820,  with  the 
following  title-page : 

LITE  OP  JOHN  SEBASTIAN  BACH  ;  with  a  Critical  View 
of  his  Compositions.  By  J.  N.  Forkel,  Author  of  The  Com- 
plete History  of  Music,  etc.,  etc.  Translated  from  the 
German.  London:  Printed  for  T.  Boosey  and  Co.,  Holies- 
Street,  Cavendish-Square.  1820. 

The  book  was  published  in  February  1820 ; 
it  was  announced,  with  a  slightly  differently 
worded  title-page,  in  the  '  New  Monthly  Magazine 
and  Universal  Register '  for  March  1820  (p.  341), 
and  the  '  Scots  Magazine '  for  the  same  month 
(vol.  Ixxxv.  p.  263).  The  '  New  Monthly '  states  the 
price  as  5s.,  the  '  Quarterly  Review '  (vol.  xxiii. 
p.  281)  as  6s.  The  book  contains  xi-f- 116+3  pages 
of  Music  Figures,  crown  octavo,  bound  in  dark 
unlettered  cloth.  It  has  neither  Introduction, 
notes  (other  than  Forkel's),  nor  indication  of  the 
translator's  identity.  Much  of  the  translation 
is  so  bad  as  to  suggest  grave  doubts  of  the  trans- 
lator's comprehension  of  the  German  original ; 
while  his  rendering  of  Forkel's  critical  chapters 
rouses  a  strong  suspicion  that  he  also  lacked 
technical  equipment  adequate  to  his  task.  It  is, 
in  fact,  difficult  to  understand  how  such  an  un- 
satisfactory piece  of  work  found  its  way  into 
print. 


xx  JOHANN  SEBASTIAN  BACH 

The  character  of  the  1820  translation  has  a  close 
bearing  upon  its  authorship.  In  the  article  on 
Bach  in  the  new  '  Grove  '  it  is  attributed  to  Samuel 
Wesley  (1766-1837),  an  attractive  suggestion, 
since  Wesley  was  as  enthusiastic  a  Bach  pioneer 
in  this  country  as  Forkel  himself  was  in  Germany. 
But  the  statement  is  not  correct.  In  Samuel 
Wesley's  '  Letters  to  Mr.  Jacobs  relating  to  the 
Introduction  into  this  Country  of  the  Works  of 
J.  S.  Bach '  (London,  1875)  we  find  the  clue.  On 
October  17,  1808,  Wesley  writes:  'We  are  (in 
the  first  place)  preparing  for  the  Press  an  authentic 
and  accurate  Life  of  Sebastian,  which  Mr.  Stephen- 
son  the  Banker  (a  most  zealous  and  scientific 
member  of  our  Fraternity)  has  translated  into 
English  from  the  German  of  Forkel.' 

Unfortunately,  it  is  impossible  to  identify 
Stephenson  precisely,  or  to  detect  his  activities 
in  the  musical  circle  in  which  Wesley  includes  him. 
In  1820  there  was  in  Lombard  Street  a  firm  of 
bankers  under  the  style  of  '  Remington,  Stephen- 
son,  Remington,  and  Toulmin,'  the  active  partner 
being  Mr.  Rowland  Stephenson,  a  man  of  about 
forty  in  that  year.  The  firm  was  wound  up  in 
bankruptcy  in  1829,  Stephenson  having  absconded 
to  America  the  previous  year.  He  appears  to 
have  been  the  only  banker  of  that  name  holding 
such  a  recognised  position  as  Wesley  attributes  to 
him,  though  it  remains  no  more  than  a  conjecture 
that  he  was  the  author  of  the  translation  issued  in 


INTRODUCTION  xxi 

1820. 1  But  whoever  'Stephenson  the  Banker' 
may  have  been,  the  poverty  of  his  work  fails  to 
support  Wesley's  commendation  of  his  '  scientific  ' 
equipment,  and  suggests  that  his  purse  rather 
than  his  talents  were  serviceable  to  Wesley's 
missionary  campaign. 

For  the  facts  of  Bach's  life,  and  as  a  record  of 
his  artistic  activities,  Forkel  admittedly  is  inade- 
quate and  often  misleading.  Stephenson  neces- 
sarily was  without  information  to  enable  him  to 
correct  or  supplement  his  author.  Recent  re- 
search, and  particularly  the  classic  volumes  of 
Spitta  and  Schweitzer,  have  placed  the  present 
generation  in  a  more  instructed  and  therefore 
responsible  position.  The  following  pages,  accord- 
ingly, have  been  annotated  copiously  in  order  to 
bring  Forkel  into  line  with  modern  scholarship. 
His  own  infrequent  notes  are  invariably  indicated 
by  a  prefixed  asterisk.  It  has  been  thought 
advisable  to  write  an  addendum  to  Chapter  II. 
hi  order  to  supplement  Forkel  at  the  weakest 
point  of  his  narrative. 

Readers  of  Spitta's  first  volume  probably  will 
remember  the  effort  to  follow  the  ramifications  of 
the  Bach  pedigree  unaided  by  a  genealogical 
Table.  It  is  unfortunate  that  Spitta  did  not 

1  In  'The  News'  of  January  4,  1829,  he  is  described  as  the  second 
son  of  the  late  John  Stephenson  of  Great  Ormonde  Street,  Queen 
Square,  whom  he  had  succeeded  in  the  partnership  of  the  firm.  His 
wife  was  dead,  and  of  his  eight  children  the  eldest  was  also  in  the 
Bank. 


xxii         JOHANN  SEBASTIAN  BACH 

set  out  in  that  form  the  wealth  of  biographical 
material  his  pages  contain.  To  supply  the  de- 
ficiency, and  to  illustrate  Forkel's  first  Chapter, 
a  complete  Genealogical  Table  is  provided  in 
Appendix  VI,,  based  mainly  upon  the  biographical 
details  scattered  over  Spitta's  pages. 

In  Chapter  IX.  Forkel  gives  a  list  of  Bach's 
compositions  known  to  him.  It  is,  necessarily, 
incomplete.  For  that  reason  Appendices  I.  and 
II.  provide  a  full  catalogue  of  Bach's  works 
arranged  under  the  periods  of  his  career.  In  the 
case  of  the  Oratorios,  Cantatas,  Motets,  and 
'  Passions,'  it  is  not  difficult  to  distribute  them 
upon  a  chronological  basis.  The  Clavier  works 
also  can  be  dated  with  some  approximation  to 
closeness.  The  effort  is  more  speculative  in  the 
case  of  the  Organ  music. 

In  his  Preface  Forkel  suggests  the  institution  of 
a  Society  for  the  publication  and  study  of  Bach's 
works.  The  proposal  was  adopted  after  half  a 
century's  interval,  and  in  Appendix  III.  will  be 
found  a  complete  and  detailed  catalogue  of  the 
publications  of  the  Old  and  New  Bachgesellschaft 
from  1850  to  1918  inclusive.  The  Society's  issues 
for  1915-18  have  not  yet  reached  this  country. 
The  present  writer  had  an  opportunity  to  examine 
them  in  the  Library  of  the  Cologne  Conservatorium 
of  Music  in  the  spring  of  this  year. 

In  this  Introduction  will  be  found  a  list  of 
works  bearing  on  Bach,  which  preceded  Forkel's 


INTRODUCTION  xxiii 

monograph.  Appendix  IV.  provides  a  biblio- 
graphy of  Bach  literature  published  subsequently 
to  it. 

Grateful  acknowledgment  is  made  to  Mr.  Ivor 
Atkins,  of  Worcester  Cathedral,  and  to  Mr.  W.  G. 
Whittaker,  of  Newcastle-upon-Tyne,  who  have 
read  these  pages  in  proof,  and  improved  them  by 
their  criticism.  C.  S.  T. 

October  1,  1919. 


FORKEL'S  PREFACE 

MANY  years  ago  I  determined  to  give  the  public 
an  account  of  the  life  of  Johann  Sebastian  Bach, 
with  some  reflections  upon  his  genius  and  his 
works.  The  brief  article  by  Carl  Philipp 
Emmanuel  Bach  l  and  Herr  Agricola,2  formerly 
composer  to  the  Court  of  Prussia,  contributed  to 
the  fourth  volume  of  Mizler's  '  Musical  Library,'  3 
can  hardly  be  deemed  adequate  by  Bach's  admirers 
and,  but  for  the  desire  to  complete  my  '  General 

1  Carl  Philipp   Emmanuel  Bach,  third   son   of  Johann   Sebastian 
Bach,  b.  1714;    Kammermusikus  to  Frederick  the  Great  of  Prussia 
(1746),  Kapellmeister  at  Hamburg  (1768) ;  d.  1788. 

2  Johann  Friedrich  Agricola,  of  Dobitsch,  b.  1720 ;    studied  com- 
position with  Bach  at  Leipzig;    Court  Composer  (1751)  and,  after 
Carl  Heinrich  Graun's  death  (1759),  Kapellmeister  to  Frederick  the 
Great  of  Prussia  ;  d.  1774.    See  Spitta,  '  Johann  Sebastian  Bach,'  iii. 
243  ff. 

8  Lorenz  Chriatoph  Mizler  (1711-78),  a  pupil  of  Bach,  founded  at 
Leipzig  in  1738  the  '  Sozietat  der  musikalischen  Wissenschaften,'  of 
which  Bach  and  Handel  were  members.  Mizler's  journal,  the '  Neu-eroff- 
neter  Musikalischer  Bibliothek,'  was  its  organ.  It  appeared  from  1736 
to  1754.  In  Part  I.  of  vol.  iv.  (1754)  C.  P.  E.  Bach  and  Agricola 
collaborated  in  the  obituary  notice,  or  '  Nekrolog,'  which  is  almost 
the  earliest  literary  authority  for  Bach's  life.  It  covered  less  than 
twenty  pages.  (See  Schweitzer, '  J.  S.  Bach '  (trans.  Ernest  Newman), 
i.  189  ff.  and  Spitta,  i.  Pref.)  Agricola's  association  with  Bach's  son 
m  the  preparation  of  the  obituary  notice  is  explained  by  the  fact  that 
for  the  last  ten  years  of  Sebastian's  life  Agricola  was  in  closer  relations 
with  him  than  Carl  Philipp  Emmanuel,  who  no  longer  was  resident  in 
Leipzig. 

xxiv 


FORKEL'S  PREFACE  xxv 

History  of  Music,' 1  I  should  have  fulfilled  my 
purpose  long  ago.  As  Bach,  more  than  any  other 
artist,  represents  an  era  in  the  history  of  music, 
it  was  my  intention  to  devote  to  the  concluding 
volume  of  that  work  the  materials  I  had  collected 
for  a  history  of  his  career.  But  the  announcement 
that  Messrs.  Hoffmeister  and  Kuhnel,  the  Leipzig 
music-sellers  and  publishers,  propose  to  issue  a 
complete  and  critical  edition  of  Bach's  works  has 
induced  me  to  change  my  original  plan.2 

Messrs.  Hoffmeister  and  Runnel's  project  pro- 
mises at  once  to  advance  the  art  of  music  and 
enhance  the  honour  of  the  German  name.  For 
Bach's  works  are  a  priceless  national  patrimony  ; 
no  other  nation  possesses  a  treasure  comparable 
to  it.  Their  publication  in  an  authoritative  text 
will  be  a  national  service  and  raise  an  imperishable 
monument  to  the  composer  himself.  All  who 
hold  Germany  dear  are  bound  in  honour  to  pro- 
mote the  undertaking  to  the  utmost  of  their 
power.  I  deem  it  a  duty  to  remind  the  public  of 
this  obligation  and  to  kindle  interest  in  it  in  every 
true  German  heart.  To  that  end  these  pages 

1  Forkel's  '  Allgemeine  Geschichte  der  Musik '  (2  vols.  1788-1801) 
had  only  come  down  to  the  sixteenth  century  when  its  author  diverted 
his  pen  to  a  biography  of  Bach. 

8  The  firm  of  Hoffmeister  and  Kuhnel  was  founded  at  Leipzig  in 
1800  by  Franz  Anton  Hoffmeister,  who  started,  in  1801,  a  subscription 
for  the  publication  of  Bach's  works,  to  which  Forkel  alludes.  The 
scheme  failed  to  mature,  and  its  accomplishment  was  reserved  to 
C.  F.  Peters,  who  purchased  Hoffmeister's  '  Bureau  de  Musique '  in 
1814.  See  articles  on  Hoffmeister  and  Peters  in  Grove's  '  Dictionary.' 


xxvi        JOHANN  SEBASTIAN  BACH 

appear  earlier  than  my  original  plan  proposed  ; 
for  they  will  enable  me  to  reach  a  larger  number 
of  my  fellow  countrymen.  The  section  on  Bach 
in  my  '  History  of  Music  '  probably  would  have 
been  read  by  a  handful  of  experts  or  musical 
artists.  Here  I  hope  to  speak  to  a  larger  audience, 
For,  let  me  repeat,  not  merely  the  interests  of 
music  but  our  national  honour  are  concerned  to 
rescue  from  oblivion  the  memory  of  one  of 
Germany's  greatest  sons. 

One  of  the  best  and  most  effective  means  of 
popularising  musical  masterpieces  is  to  perform 
them  in  public.  In  that  way  works  of  merit 
secure  a  widening  audience.  People  listen  to 
them  with  pleasure  in  the  concert  room,  church, 
or  theatre,  remember  the  agreeable  impression 
they  created,  and  purchase  them  when  published, 
even  though  they  cannot  always  play  them.  But 
Bach's  works  unfortunately  are  rarely  heard 
nowadays  ;  for  the  number  of  persons  capable 
of  playing  them  adequately  is  at  best  incon- 
siderable. It  would  have  been  otherwise  had 
Bach  given  touring  performances  of  his  music,1 
a  labour  for  which  he  had  neither  time  nor  liking. 
Many  of  his  pupils  did  so,  and  though  their  skill 
was  inferior  to  their  master's,  the  admiration 

1  Though  Bach  never  ventured  upon  such  tours  as  Mozart  or 
Berlioz,  for  instance,  undertook,  he  loved  travelling,  and  his  artistic 
journeys  made  him  famous  throughout  Germany,  at  least  as  an 
organist.  Forkel  himself  describes  (infra,  pp.  19,  23)  his  notable 
visits  to  the  Courts  of  Berlin  and  Dresden. 


FORKEL'S  PREFACE  xxvii 

and  astonishment  they  excited  revealed  the 
grandeur  of  his  compositions.  Here  and  there, 
too,  were  found  persons  who  desired  to  hear  on 
their  own  instrument  pieces  which  the  performer 
had  played  best  or  gave  them  most  pleasure. 
They  could  do  so  more  easily  for  having  heard 
how  the  piece  ought  to  sound. 

But,  to  awaken  a  wide  appreciation  of  musical 
masterpieces  depends  upon  the  existence  of  good 
teachers.  The  want  of  them  is  our  chief  dif- 
ficulty. In  order  to  safeguard  their  credit,  the 
ignorant  and  incompetent  of  their  number  are 
disposed  to  decry  good  music,  lest  they  should  be 
asked  to  play  it.  Consequently,  their  pupils,  con- 
demned to  spend  time,  labour,  and  money  on 
second-rate  material,  will  not  after  half  a  dozen 
years,  perhaps,  show  themselves  farther  advanced 
hi  sound  musical  appreciation  than  they  were 
at  the  outset.  Whereas,  under  a  good  teacher, 
half  the  time,  labour,  and  money  produces  pro- 
gressive improvement.  Time  will  show  whether 
this  obstacle  can  be  surmounted  by  making 
Bach's  works  accessible  in  the  music  shops  and  by 
forming  a  Society  among  the  admirers  of  his 
genius  to  make  them  known  and  promote  their 
study.1 

1  In  1802,  it  must  be  remembered,  not  a  note  of  Bach's  concerted 
Church  music  was  in  print  except  the  tunes  he  wrote  for  Schemelli's 
Hymn-book  (1736)  and  the  vocal  parts  of  an  early  Cantata  (No.  71). 
Of  his  instrumental  works  engraved  by  1802  Forkel  gives  a  list  infra, 
p.  137.  It  was  hardly  until  the  foundation  of  the  Bachgesellschaft  in 


xxviii      JOHANN  SEBASTIAN  BACH 

At  any  rate,  if  music  is  really  an  art,  and  not  a 
mere  pastime,  its  masterpieces  must  be  more 
widely  known  and  performed  than  in  fact  they 
are.  And  here  Bach,  prince  of  classic  composers, 
can  render  yeoman  service.1  For  his  music  is 
so  well  calculated  to  educate  the  student  to  dis- 
tinguish what  is  trivial  from  what  is  good,  and  to 
comport  himself  as  an  artist  in  whatever  branch 
of  the  art  he  makes  his  own.  Moreover,  Bach, 
whose  influence  pervades  every  musical  form,  can 
be  relied  on  more  than  any  other  composer  to 
correct  the  superficiality  which  is  the  bane  of 
modern  taste.  Neglect  of  the  classics  is  as  pre- 
judicial to  the  art  of  music  as  it  would  b&  fatal  to 
the  interests  of  general  culture  to  banish  Greek 
and  Latin  writers  from  our  schools.  Modern 
taste  exhibits  no  shame  in  its  preference  for 
agreeable  trifles,  in  its  neglect  of  everything  that 
makes  a  demand,  however  slight,  upon  its 
attention.  To-day  we  are  menaced  by  a  proposal 

1850,  to  celebrate  the  centenary  of  Bach's  death,  that  the  systematic 
publication  of  his  concerted  Church  music  began.  Before  that  date, 
however,  Peters  of  Leipzig  had  taken  in  hand  the  abandoned  scheme 
of  Hoffmeister  and  Kiihnel,  to  which  Forkel  alludes,  and  in  which  he 
participated. 

1  It  is  notable  that  Forkel  makes  no  mention  of  Haydn,  Mozart,  or 
Handel,  whose  English  domicile  had  divorced  him  from  Germany's 
service.  Forkel's  pessimism  is  the  more  curious,  seeing  that  Beethoven 
was  already  thirty  years  old,  and  that  Mozart  in  1786,  after  giving 
him  a  subject  to  extemporise  upon,  had  remarked,  'Listen  to  that 
young  man ;  he  will  some  day  make  a  noise  in  the  world '  (Holmes, 
'Life  of  Mozart,'  Dent's  ed.,  p.  223).  Forkel.  in  fact,  appreciated 
neither  Mozart  nor  Beethoven  and  thoroughly  detested  Gluck. 


FORKEL'S  PREFACE  xxix 

to  banish  the  classics  from  our  schoolrooms. 
Equally  short-sighted  vision  threatens  to  ex- 
tinguish our  musical  classics  as  well.  And  is  it 
surprising  ?  Modern  art  displays  such  poverty  and 
frivolity  that  it  well  may  shrink  from  putting 
itself  in  context  with  great  literature,  particularly 
with  Bach's  mighty  and  creative  genius,  and  seek 
rather  to  proscribe  it. 

I  fain  would  do  justice  to  the  sublime  genius 
of  this  prince  of  musicians,  German  and  foreign  ! 
Short  of  being  such  a  man  as  he  was,  dwarfing 
all  other  musicians  from  the  height  of  his  superi- 
ority, I  can  conceive  no  greater  distinction  than 
the  power  to  comprehend  and  interpret  him  to 
others.1  The  ability  to  do  so  must  at  least  connote 
a  temperament  not  wholly  alien  from  his  own. 
It  may  even  hint  the  flattering  prospect  that,  if 
circumstances  had  opened  up  the  same  career, 
similar  results  might  have  been  forthcoming.  I 
am  not  presumptuous  to  suggest  such  a  result  in 
my  own  case.  On  the  contrary  I  am  convinced 
that  there  are  no  words  adequate  to  express  the 
thoughts  Bach's  transcendent  genius  stirs  one  to 
utter.  The  more  intimately  we  are  acquainted 
with  it  the  greater  must  be  our  admiration.  Our 
utmost  eulogy,  our  deepest  expressions  of  homage, 


1  As  has  been  pointed  out  in  the  Introduction,  Forkel  stood  almost 
alone  in  1802  in  his  opinion  of  Bach's  pre-eminence.  Even  Beethoven 
placed  Bach  after  Handel  and  Mozart,  but  knew  little  of  his  music  on 
which  to  found  a  decision. 


xxx         JOHANN  SEBASTIAN  BACH 

must  seem  little  more  than  well-meant  prattle. 
No  one  who  is  familiar  with  the  work  of  other 
centuries  will  contradict  or  hold  my  statement 
exaggerated,  that  Bach  cannot  be  named  except 
in  tones  of  rapture,  and  even  of  devout  awe,  by 
those  who  have  learnt  to  know  him.  We  may 
discover  and  lay  bare  the  secrets  of  his  technique. 
But  his  power  to  inspire  into  it  the  breath  of 
genius,  the  perfection  of  life  and  charm  that 
moves  us  so  powerfully,  even  in  his  slightest 
works,  must  always  remain  extraordinary  and 
insoluble. 

I  do  not  choose  to  compare  Bach  with  other 
artists.  Whoever  is  interested  to  measure  him 
with  Handel  will  find  a  just  and  balanced  estimate 
of  their  relative  merits,  written  by  one  fully  in- 
formed for  the  task,  in  the  first  number  of  the 
eighty-first  volume  of  the  '  Universal  German 
Library,'  pages  295-303. J 

So  far  as  it  is  not  derived  from  the  short  article 
in  Mizler's  '  Library  '  already  mentioned,2  I  am 
indebted  for  my  information  to  the  two  eldest 

1  The  anonymous  article  in  the  '  Allgemeine  deutsche  Bibliothek,'  to 
which  Forkel  alludes,  deals  with  Bach's  Clavier  and  Organ  works  and 
upon  them  asserts  Bach's  superiority  over  Handel.  The  judgment 
was  unusual.  Bach's  fame  was  gravely  prejudiced  by  German  Handel- 
worship,  which  the  first  performance  of  the  '  Messiah '  at  Leipzig  in 
1786  stimulated.  Johann  Adam  Hiller,  Bach's  third  successor  in  the 
Cantorate  of  St.  Thomas',  was  largely  responsible.  He  neglected,  and 
even  belittled,  the  treasures  of  Bach's  art  which  the  library  of  St. 
Thomas'  contained.  See  Schweitzer,  i.  231. 

*  The  '  Nekrolog.'    See  supra,  p.  xxiv. 


FORKEL'S  PREFACE  xxxi 

sons  of  Bach  himself.1  Not  only  was  I  person- 
ally acquainted  with  them,  but  I  corresponded 
regularly  for  many  years  with  both,2  particularly 
Carl  Philipp  Emmanuel.  The  world  knows  them 
as  great  artists.  But  probably  it  is  not  aware 
that  to  the  last  moment  of  their  lives  they  spoke 
of  their  father's  genius  with  enthusiastic  ad- 
miration.3 From  my  early  youth  I  have  been  in- 
spired by  an  appreciation  no  less  deep  than  theirs. 
It  was  a  frequent  theme  of  conversation  and 
correspondence  between  us. 

Thus,  having  been  in  a  position  to  inform  myself 
on  all  matters  relating  to  Bach's  life,  genius,  and 
work,  I  may  fairly  hold  myself  competent  to  com- 
municate to  the  public  what  I  have  learnt  and  to 
offer  useful  reflections  upon  it.  I  take  advantage 

1  Carl  Philipp  Emmanuel  and  Wilhelin  Friedemann.     The  latter 
was  born  in  1710,  and  after  holding  Organistships  at  Halle  and  Dresden, 
died  at  Berlin  in  1784,  leaving  his  widow  and  daughter  in  great  poverty. 
The  former  received  a  grant  from  the   receipts  of   ffae  '  Messiah ' 
performance  alluded  to  in  note  1,  supra.     A  man  of  brilliant  musical 
attainments,  Wilhelm  Friedemann's  character  was  dissolute  and  un- 
steady.    See  Schweitzer,  i.  146  ff. 

2  Two  letters  written  by  C.  P.  E.  Bach  to  Forkel  in  1776,  convey- 
ing a  good  deal  of  information  reproduced  by  Forkel  in  this  mono- 
graph, are  printed  in  facsimile  by  Dr.  Max  Schneider  in  his  '  Bach- 
Urkunden '  (N.B.G.,  xvii.  (3)). 

»  Forkel's  statement  is  entitled  to  respect.  On  the  other  hand 
there  is  nothing  in  the  recorded  careers  of  either  of  Bach's  sons  that 
bears  him  out  on  this  point.  Schweitzer  (i.  229)  endorses  Eitner'a 
judgment :  '  Bach's  sons  were  the  children  of  their  epoch,  and  never 
understood  their  father ;  it  was  only  from  piety  that  they  looked  at 
him  with  childlike  admiration.'  Dr.  Charles  Burney  spent  several  days 
with  Carl  Philipp  Emmanuel  at  Hamburg  in  1772,  but  during  the 
whole  time  the  son  never  played  to  him  a  note  of  his  father's  music. 


xxxii         JOHANN  SEBASTIAN  BACH 

of  my  opportunity  the  more  readily  because  it 
permits  me  to  draw  attention  to  an  enterprise  1 
that  promises  to  provide  a  worthy  monument  to 
German  art,  a  gallery  of  most  instructive  models 
to  the  sincere  artist,  and  to  afford  music  lovers  an 
inexhaustible  source  of  sublimest  pleasure. 

1  i.e.  Hoffmeister  and  KvihnePs  project. 


CHAPTER  I 

THE  FAMILY   OF  BACH 

IF  there  is  such  a  thing  as  inherited  aptitude  for 
art  it  certainly  showed  itself  hi  the  family  of  Bach. 
For  six  successive  generations  scarcely  two  or  three 
of  its  members  are  found  whom  nature  had  not 
endowed  with  remarkable  musical  talent,  and  who 
did  not  make  music  their  profession.1 

Veit  Bach,2  ancestor   of  this  famous  family, 

1  The  accuracy  of  this  statement  is  apparent  from  the  Genealogy 
appended  to  this  volume.  Bach's  sons  represented  the  sixth  genera- 
tion from  Veit  Bach,  the  sixteenth  century  ancestor  of  the  family. 
Veit  himself  was  not  a  professional  musician ;  one  of  his  sons  was  a 
Spielmann  ;  thereafter  for  the  next  150  years  all  but  seven  of  his  de- 
scendants, whose  professions  are  known,  were  Organists  or  Cantors  or 
Town  Musicians.  Many  of  them,  moreover,  were  men  of  the  highest 
attainments  in  their  profession. 

a  He  took  his  name  from  St.  Vitus  (Guy),  patron  saint  of  the  church 
of  Wechmar,  a  fact  which  sufficiently  disproves  Forkel's  statement 
that  his  original  domicile  was  in  Hungary.  The  Bachs  were  settled 
in  Wechmar  as  early  as  circ.  1520.  Veit  migrated  thence  to  Hungary, 
though  there  is  no  adequate  foundation  for  the  statement  that  he 
settled  at  Pressburg.  He  returned  to  Wechmar  during  the  beginning 
of  the  Counter- Reformation  under  the  Emperor  Rudolph  n.  (1576- 
1612),  and  died  at  Wechmar,  March  8,  1619.  See  Spitta,  i.  4. 

Apart  from  church  and  town  registers,  laboriously  consulted  by 
Spitta  in  tracing  the  Bach  genealogy,  we  owe  our  knowledge  of  it  to 
an  MS.  drawn  up  by  Bach  in  1735  which  is  now  in  the  Berlin  Royal 
Library  after  being  successively  in  the  possession  of  Carl  Philipp 
Emmanuel,  Forkel,  and  G.  Polchau,  the  Hamburg  teacher  of  music. 


2  JOHANN  SEBASTIAN  BACH 

gained  a  livelihood  as  a  baker  at  Pressburg  in 
Hungary.  When  the  religious  troubles  of  the 
sixteenth  century  broke  out  he  was  driven  to  seek 
another  place  of  abode,  and  having  got  together 
as  much  of  his  small  property  as  he  could,  retired 
with  it  to  Thuringia,  hoping  to  find  peace  and 
security  there.  He  settled  at  Wechmar,  a  village 
near  Gotha,1  where  he  continued  to  ply  his  trade 
as  a  baker  and  miller.2  In  his  leisure  hours  he 
was  wont  to  amuse  himself  with  the  lute,3  playing 
it  amid  the  noise  and  clatter  of  the  mill.  His 
taste  for  music  descended  to  his  two  sons  4  and 
their  children,  and  in  time  the  Bachs  grew  to  be 
a  very  numerous  family  of  professional  musicians, 

The  original  entries  in  it  are  stated  by  Carl  P.  Emmanuel  to  be  by 
his  father.  Forkel  also  owned  a  Bach  genealogical  tree,  given  him  by 
Carl  Philipp  Emmanuel;  it  has  disappeared.  Traces  of  it  exist  in 
a  work  published  at  Pressburg  by  Johann  Matthias  Korabinsky  in 
1784,  its  insertion  being  due  to  the  assumption  that  the  Bachs  were 
a  Hungarian  family.  Forkel  shared  that  error.  See  Spitta's  Preface 
on  the  whole  question.  The  MS.  genealogy  of  1735  is  published  by 
the  New  Bachgesellschaft  (xvii.  3)  in  facsimile. 

1  Veit,  in  fact,  returned  to  his  native  village.     His  name,  as  has 
been  pointed  out,  implies  a  connection  with  Wechmar  that  must  have 
dated  from  infancy.     Moreover,  there  was  living  there  in  1561  one 
Hans  Bach,  an  official  of  the  municipality,  who  may  be  regarded 
confidently  as  Veit's  father. 

2  It  has  been  suggested  that  the  name  Bach  is  the  sole  authority 
for  the  statement  that  Veit  was  a  baker.     But  Spitta  points  out  that 
the  vowel  in  the  name  is  pronounced  long  and  was  frequently  written 
BAACH  in  the  seventeenth  century,  a  fact  which  makes  it  difficult  to 
associate  the  word  with  '  Backer  '  (Baker). 

8  In  the  Genealogy  Johann  Sebastian  calls  the  instrument  a  Cyth- 
ringen. 

4  Hans  Bach  (d.  Dec.  26, 1626)  and  (?)  Lips  Bach  (d.  Oct.  10,  1620). 
See  infra,  Genealogical  Tables  i.  and  n.  and  note  to  the  latter. 


THE  FAMILY  OF  BACH  3 

Cantors,  Organists,  and  Town  Musicians,1  through- 
out Thuringia. 

Not  all  the  Bachs, however,  were  great  musicians. 
But  every  generation  boasted  some  of  them  who 
were  more  than  usually  distinguished.  In  the 
first  quarter  of  the  seventeenth  century  three 
of  Veit  Bach's  grandchildren  showed  such  ex- 
ceptional talent  that  the  Count  of  Schwarzburg- 
Arnstadt  thought  it  worth  while  to  send  them  at 
his  expense  to  Italy,  then  the  chief  school  of 
music,  to  perfect  themselves  in  the  art.2  We  do 
not  know  whether  they  rewarded  the  expectations 
of  their  patron,  for  none  of  their  works  has  sur- 
vived. The  fourth  generation 3  of  the  family 
produced  musicians  of  exceptional  distinction, 

1  The   '  Stadt  Pfeiferei,'   or  official  town  musical  establishment, 
descended  from  the  musicians'  guilds  of  the  Middle  Ages  and  was  pre- 
sided over  by  the  Stadt  Musiker,  who  enjoyed  certain  ancient  privi- 
leges and  the  monopoly  of  providing  the  music  at  open-air  festivities. 
Johann  Jakob  Brahms,  the  father  of  Johannes,  was  a  member  of  such 
a  corporation  at  Hamburg,  after  having  served  his  apprenticeship  for 
five  years  elsewhere.    See  Florence  May,  '  Johannes  Brahms,'  voL  i. 
pp.  48  ft 

2  See  Genealogical  Table  n.    The  three  young  Bachs  were  the  sons 
of  Lips  Bach  and,  presumably,  nephews  of  Hans  the  '  Spielmann.' 
The  youngest  of  them  was  named  Jonas ;  the  name  of  another  was 
certainly  Wendel.     It  is  remarkable,  in  a  period  in  which  Italy  was 
regarded  as  the  Mecca  of  musicians,  that  exceedingly  few  of  the  Bach 
family  found  their  way  thither.     Besides  the  three  sons  of  Lips  Bach- 
only  Johann  Nikolaus,  1669-1763  (see  Table  vi.),  Johann  Sebastian 
Bach's  son  Johann  Christian,  1735-82  (see  Table  vm.),  and  Carl  P.  E. 
Bach's  son  Sebastian  (see  Table  vn.)  seem  to  have  visited  Italy. 

3  i.e.  from  Veit  Bach.     Of  the  three  names  Forkel  mentions  the 
first  two  were  a  generation  before  Johann  Sebastian ;  the  third,  Johann 
Bernhard,  was  of  the  same  generation  as  Johann  Sebastian ;  none  of 
the  three  belonged  to  Johann  Sebastian's  branch. 


4  JOHANN  SEBASTIAN  BACH 

and  several  of  their  compositions,  thanks  to 
Johann  Sebastian  Bach's  regard  for  them,  have 
come  down  to  us.  The  most  notable  of  these 
Bachs  are : 

1.  Johann  Christoph  Bach,  Court  and  Town 
Organist  at  Eisenach. x  He  was  particularly  happy 
in  his  beautiful  melodies  and  in  setting  words  to 
music.  In  the  '  Archives  of  the  Bachs,' 2  which 
was  in  Carl  Philipp  Emmanuel's  possession  at 
Hamburg,  there  is  a  Motet  by  Johann  Christoph 
in  which  he  boldly  uses  the  augmented  sixth,  a 
proceeding  considered  extremely  daring  in  his  day.3 
He  was  also  an  uncommon  master  of  harmony, 
as  may  be  inferred  from  a  Cantata  composed  by 
him  for  Michaelmas,  to  the  words  *  Es  erhub  sich 
ein  Streit,'  etc.,  which  has  twenty-two  obbligato 
parts  in  correct  harmony.4  Yet  another  proof 
of  his  rare  skill  is  in  the  alleged  fact  that  he  never 

1  Eldest  son  of  Heinrich  Bach  (see  Table  vi.).     Whether  he  was 
Court  as  well  as  Town  Organist  at  Eisenach  cannot  be  stated  positively. 

2  The  '  Alt-Bachische  Archive '  is  a  collection  of  the  compositions  of 
various  members  of  the  family,  before  and  after  Johann  Sebastian, 
formed  largely  by  the  latter.     From  C.  P.  E.  Bach  it  passed  to  G. 
Polchau  and  from  him  to  the  Berlin  Royal  Library. 

3  Johann  Christoph  composed  several  Motets  (see  them  discussed 
in  Spitta,  i.  75  ff.).    The  daring  work  to  which  Forkel  alludes  was 
written  about  1680  and  is  lost.     Though  the  augmented  sixth  was 
then  and  remained  unusual,  Johann  Christoph's  is  not  the  earliest  use 
of  it.     Spitta  finds  it  in  Giacomo  Carissimi  (1604-74). 

4  The  Cantata  ('  And  there  was  war  in  heaven ')  is  analysed  by 
Spitta  (i.  44).    The  score  is  unusually  full :    two  five-part  choirs ; 
Vn.  1  and  2,  4  Violas,  Contrabasso,  Fagotto,  4  Trombe,  Timpani, 
Organ.     In  1726  Johann  Sebastian  Bach  wrote  a  Cantata  for  Michael- 
mas on  the  same  text  (Rev.  xii.  7). 


THE  FAMILY  OF  BACH  5 

played  the  Organ  or  Clavier  in  less  than  five 
parts.1  Carl  Philipp  Emmanuel  had  a  particularly 
warm  regard  for  him.2  I  remember  the  old  man 
playing  some  of  his  compositions  to  me  on  the 
Clavier  at  Hamburg,  and  how  quizzically  he 
looked  at  me  when  one  of  these  daring  passages 
occurred.3 

2.  Johann  Michael  Bach,  Organist  and  Town 
Clerk  at  Gehren.4    He  was  the  younger  brother 
of  Johann  Christoph,  and  like  him,  a  particularly 
good  composer.     The  Archives  already  mentioned  5 
contain  several  of  his  Motets,  including  one  for 
eight  voices  hi  double  .chorus,6  and  many  com- 
positions for  Church  use. 

3.  Johann    Bernhard    Bach,    Musician   in   the 

1  Spitta  (i.  101  n.)  characterises  the  statement  as  'a  mythical 
exaggeration.'  In  a  chapter  devoted  to  the  instrumental  works  of 
Johann  Christoph  and  his  brother  he  instances  a  collection  of  forty- 
four  Organ  Chorals  by  the  former,  not  one  of  which  is  in  five  parts. 

8  In  the  Bach  genealogy  already  referred  to  C.  P.  E.  Bach  desig- 
nates Johann  Christoph  a  '  great  and  impressive  composer.' 

8  A  '  Lamento '  published  under  Johann  Christoph's  name  seems 
actually  to  have  been  composed  by  his  father  Heinrich  (see  Pirro, 
'  J.-S.  Bach,'  9  n.).  Johann  Christoph,  however,  is  the  composer  of  the 
Motet  '  Ich  lasse  dich  nicht,'  so  often  attributed  to  Johann  Sebastian. 

4  See  Table  vi.     He  was  the  father  of  Johann  Sebastian's  first  wife. 

6  See  note,  p.  4  supra. 

6  Spitta  (i.  59  ff.)  mentions  twelve  Motets  by  Michael  Bach.  Several 
of  them  are  for  eight  voices.  Forkel  probably  refers  to  the  most 
remarkable  of  Michael's  Motets,  in  which  he  detects  the  romantic 
spirit  of  Johann  Sebastian.  It  is  set  to  the  words  '  Unser  Leben  ist 
ein  Schatten'  ('Life  on  earth  is  but  a  shadow').  The  first  choir 
consists  of  2  S.,  A.,  2  T.,  B.,  and  the  second  choir  of  A.T.B.  only. 
Spitta  analyses  the  work  closely  (i.  70-72).  Novello  publishes  his  five- 
part  Motet '  Christ  is  risen '  with  an  English  text. 


6  JOHANN  SEBASTIAN  BACH 

Prince's  Kapelle  and  Organist  at  Eisenach.1  He 
is  said  to  have  composed  remarkably  fine  Suites, 
or  Overtures,  in  the  French  style.2 

Besides  these  three  men,  the  Bachs  boasted 
several  able  composers  hi  the  generations  preced- 
ing Johann  Sebastian,3  men  who  undoubtedly 
would  have  obtained  higher  positions,  wider 
reputation,  and  more  brilliant  fortune  if  they 
could  have  torn  themselves  from  their  native 
Thuringia  to  display  their  gifts  elsewhere  in 
Germany  or  abroad.  But  none  of  the  Bachs 
seems  to  have  felt  an  inclination  to  migrate. 
Modest  in  their  needs,  frugal  by  nature  and  train- 
ing, they  were  content  with  little,  engrossed  in 
and  satisfied  by  their  art,  and  wholly  indifferent 

1  He  succeeded  his  cousin  Johann  Christoph  at  Eisenach  in  1703. 
See  Table  m. 

8  Spitta  (i.  24  ff.)  mentions  four  Suites,  or  Overtures,  Clavier  pieces, 
and  Organ  Chorals  as  being  by  him.  That  Johann  Sebastian  Bach 
highly  esteemed  the  Suites  is  proved  by  the  fact  that  he  copied  the 
parts  of  three  of  them  with  his  own  hand  at  Leipzig. 

3  It  is  a  curious  fact  that,  prior  to  the  career  of  Johann  Sebastian 
Bach,  the  composers  of  the  Bach  family  occur  invariably  in  other 
branches  than  his.  With  two  exceptions,  the  gift  of  composition 
appears  to  have  been  possessed,  or  exercised,  solely  by  Heinrich  Bach 
(see  Table  vi.),  his  two  sons  Johann  Christoph  and  Johann  Michael, 
already  discussed,  and  his  grandson,  Johann  Nikolaus  (son  of  Johann 
Christoph).  Heinrich  Bach  was  a  very  productive  composer  in  all 
forms  of  musical  art  employed  at  that  time  in  church  (Sp.  i.  36). 
His  grandson,  Johann  Nikolaus,  composed  a  Mass  and  a  comic  operetta 
(ib.,  132  ff.).  The  only  other  Bach  composer  known  to  Spitta  is 
Georg  Christoph,  founder  of  the  Franconian  Bachs  (see  Table  rv.) 
and  Cantor  at  Themar  and  Schweinfurt  (ib.  155).  The  other  Bach 
composer  outside  Heinrich  Bach's  branch  is  Johann  Bernhard,  already 
mentioned  by  Forkel. 


THE  FAMILY  OF  BACH  7 

to  the  decorations  which  great  men  of  that  time 
were  wont  to  bestow  on  artists  as  special  marks  of 
honour.  The  fact  that  others  who  appreciated 
them  were  thus  distinguished  did  not  rouse  the 
slightest  envy  in  the  Bachs. 

The  Bachs  not  only  displayed  a  happy  content- 
edness,  indispensable  for  the  cheery  enjoyment  of 
life,  but  exhibited  a  clannish  attachment  to  each 
other.  They  could  not  all  live  in  the  same 
locality.  But  it  was  their  habit  to  meet  once  a 
year  at  a  time  and  place  arranged  beforehand. 
These  gatherings  generally  took  place  at  Erfurt, 
Eisenach,  and  sometimes  at  Arnstadt.  Even 
after  the  family  had  grown  very  large,  and  many 
of  its  members  had  left  Thuringia  to  settle  in 
Upper  and  Lower  Saxony  and  Franconia,  the 
Bachs  continued  their  annual  meetings.  On  these 
occasions  music  was  their  sole  recreation.  As 
those  present  were  either  Cantors,  Organists,  or 
Town  Musicians,  employed  in  the  service  of  the 
Church  and  accustomed  to  preface  the  day's  work 
with  prayer,  their  first  act  was  to  sing  a  Hymn. 
Having  fulfilled  their  religious  duty,  they  spent 
the  rest  of  the  time  in  frivolous  recreations.  Best 
of  all  they  liked  to  extemporise  a  chorus  out  of 
popular  songs,  comic  or  jocular,  weaving  them 
into  a  harmonious  whole  while  declaiming  the 
words  of  each.  They  called  this  hotch-potch  a 
'  Quodlibet,'  laughed  uproariously  at  it,  and 
roused  equally  hearty  and  irrepressible  laughter 


8  JOHANN  SEBASTIAN  BACH 

in  their  audience.1  It  is  suggested  that  German 
Comic  Opera  has  its  origin  in  these  trifles.  But 
the  '  Quodlibet '  was  a  familiar  institution  hi 
Germany  at  a  much  earlier  period.  I  possess  a 
collection  of  them  printed  and  published  at 
Vienna  hi  1542.2 

But  these  light-hearted  Thuringians,  and  even 
those  of  their  family  who  treated  their  art  more 
seriously  and  worthily,  would  not  have  escaped 
oblivion  had  there  not  emerged  in  the  fulness  of 
time  one  whose  genius  and  renown  reflected  their 
splendour  and  brilliancy  on  his  forbears.  This 
man,  the  glory  of  his  family,  pride  of  his  country- 
men, most  gifted  favourite  of  the  Muse  of  Music, 
was  Johann  Sebastian  Bach. 

1  In   the    Quodlibet   different   voices   sang   different  well-known 
melodies,  sacred  and  profane,  and  sought  to  combine  them  to  form 
a  harmonious  whole.     For  an  example  see  Variation  30  of  the  '  Aria 
mit  30  Veranderungen '    (Peters'  ed.,  bk.  209  p.  83).     In  it  Bach 
combines  two  popular  songs  of  his  period. 

2  See  article  '  Quodlibet '  in  Grove. 


CHAPTER  II 

THE  CAREER   OF  BACH 

JOHANN  SEBASTIAN  BACH  was  born  on  March 
21,  1685,1  at  Eisenach,  where  his  father, 
Johann  Ambrosius  Bach,  was  Court  and  Town 
Musician. 2  Johann  Ambrosius  had  a  twin  brother, 
Johann  Christoph,  Musician  to  the  Court  and 
Town  of  Arnstadt,3  who  so  exactly  resembled  him 
that  even  their  wives  could  distinguish  them  only 
by  their  dress.  The  twins  appear  to  have  been  quite 
remarkable.  They  were  deeply  attached,  alike  in 
disposition,  in  voice,  and  in  the  style  of  their  music. 
If  one  was  ill,  so  was  the  other.  They  died  within 
a  short  time  of  each  other,  and  were  objects  of 
wondering  interest  to  all  who  knew  them.4 

In  1695,  when  Johann  Sebastian  was  not  quite 
ten  years  old,  his  father  died.  He  lost  his  mother 
at  an  earlier  period.5  So,  being  left  an  orphan, 

1  The  date  is  conjectural,  and  is  deduced  from  the  fact  that  the 
infant  was  baptized  on  March  23.    The  Gregorian  Calendar  was  not 
adopted  in  Germany  until  1701.     Had  it  been  in  use  in  1685  Bach's 
birthday  would  be  March  31. 

2  Johann  Ambrosius'  Court  appointment  is  to  be  inferred  from  the 
fact  that  in  1684  the  Duke  refused  him  permission  to  return  to  Erfurt. 

»  See  Table  rv. 

4  Johann  Ambrosius  survived  his  brother  by  nearly  eighteen  months. 
6  His  mother  died  in  May  1694,  and  his  father  in  January  1695.  At  the 
latter  date  Johann  Sebastian  was  three  months  short  of  his  tenth  year. 


10  JOHANN  SEBASTIAN  BACH 

he  became  dependent  on  his  eldest  brother, 
Johann  Christoph,  Organist  at  Ohrdruf,1  from 
whom  he  received  his  earliest  lessons  on  the 
Clavier.2  His  inclination  and  talent  for  music 
must  already  have  been  pronounced.  For  his 
brother  no  sooner  had  given  him  one  piece  to 
learn  than  the  boy  was  demanding  another  more 
difficult.  The  most  renowned  Clavier  composers 
of  that  day  were  Froberger,3  Fischer,4  Johann 
Caspar  Kerl,5  Pachelbel,6  Buxtehude,7  Bruhns,8 

1  Excepting  Johann  Jakob,  a  lad  of  thirteen  years,  Johann  Christoph 
was  Bach's  only  surviving  brother,  and  the  only  one  of  the  family 
in  a  position  to  look  after  him.     Johann  Jakob  accompanied  Sebastian 
to  Ohrdruf  (Pirro,  p.  13)  and  afterwards  apprenticed  himself  to  his 
father's  successor  as  Town  Musician  at  Eisenach.     One  of  the  daughters 
was  already  married.     What  became  of  the  other  is  not  stated.     See 
Table  v. 

2  It  is  difficult  to  believe  this  statement.    That  the  boy  was  destined 
for  a  musical  career  by  his  father  hardly  can  be  doubted.     That  he 
was  of  unusual  precocity,  the  story  told  by  Forkel  in  the  text  proves. 
His  father's  asserted  neglect  to  instruct  him  is  therefore  hardly  credible. 

8  Johann  Jakob  Froberger,  born  at  Halle  (date  unknown) ;  Court 
Organist  at  Vienna,  1637-57  ;  d.  1667. 

*  Johann  Caspar  Ferdinand  Fischer,  c.  1660-1738  (actual  dates  of 
his  birth  and  death  unknown) ;  Kapellmeister  to  Markgraf  Ludwig  of 
Baden  at  Schloss  Schlackenwerth  in  Bohemia.  His  '  Ariadne  Musica 
Neo-Organoedum '  (1702)  was  the  precursor  of  Bach's  '  Das  wohl- 
temperirte  Clavier.' 

5  Johann  Caspar  Kerl,  b.  1628  ;  Kapellmeister  in  Munich,  1656-74  ; 
Court  Organist  at  Vienna,  1677-92  ;  d.  1693. 

6  Johann  Pachelbel,  b.  1653,  d.  1706.     In  1695  he  was  Organist  of 
St.  Sebald's  Church,  Niirnberg.     His  influence  upon  the  organ  playing 
of  his  generation  was  enormous.     Bach's  brother,  Johann  Christoph, 
was  his  pupil. 

7  Dietrich  Buxtehude,  b.  1637,  d.  1707;  Organist  (1668)  of  the  Marien- 
kirche,  Liibeck,  and  the  chief  musical  influence  in  North  Germany. 

8  Nikolaus  Bruhns,  b.  tire.  1665,  d.  1697 ;   a  pupil  of  Buxtehude ; 
Organist  at  Husum ;  the  greatest  organist  of  his  time  after  Buxtehude. 


THE  CAREER  OF  BACH  11 

and  Bohm.1  Johann  Christoph  possessed  a  book 
containing  several  pieces  by  these  masters,  and 
Bach  begged  earnestly  for  it,  but  without  effect. 
Refusal  increasing  his  determination,  he  laid 
his  plans  to  get  the  book  without  his  brother's 
knowledge.  It  was  kept  on  a  book-shelf  which 
had  a  latticed  front.  Bach's  hands  were  small. 
Inserting  them,  he  got  hold  of  the  book,  rolled  it 
up,  and  drew  it  out.  As  he  was  not  allowed  a  candle, 
he  could  only  copy  it  on  moonlight  nights,  and  it 
was  six  months  before  he  finished  his  heavy 
task.  As  soon  as  it  was  completed  he  looked 
forward  to  using  hi  secret  a  treasure  won  by  so 
much  labour.  But  his  brother  found  the  copy 
and  took  it  from  him  without  pity,  nor  did  Bach 
recover  it  until  his  brother's  death  soon  after.2 

Being  once  more  left  destitute,3  Johann 
Sebastian  set  out  for  Liineburg  with  one  of  his 
Ohrdruf  schoolfellows,  named  Erdmann4  (after- 

1  Georg  Bohm,  b.  1661 ;   date  of  death  uncertain  (c.  1739) ;   from 
1698  Organist  of  the  Jc  ^.nniskirche,  Liineburg. 

2  In  fact,  Johann  Chrii   *ph  did  not  die  until  1721,  more  than  twenty 
years  after  Sebastian  ceased  to  be  under  his  roof. 

3  The   fact  that  Johar;    Chri-stoph  survived   till   1721    disproves 
Forkel's  statement.    The  youthful  Bacn,  aged  fifteen  in  1700,  no  doubt 
seized  the  earliest  opportunity  to  relieve  his  brother  of  the  charge 
of  him.     Moreover,  Joham   Ch  ristoph's  family  was  increasing  (see 
Table  v.).     In  spite  of  the  st  >ry  of  Bach's  midnight  copying,  it  cannot 
be  questioned  that  he  owed   i  good  deal  to  his  brother,  who  not  only 
taught  him  but,  presumably,  naintained  him  at  the  Ohrdruf  Lyceum, 
where  Bach  acquired  a  sound  -ducation  and  a  considerable  knowledge 
of  Latin.    See  Pirro,  pp.  14-16,  on  Bach's  education  at  Ohrdruf.    He 
left  the  Lyceum  in  March  1700. 

4  Georg  Erdmann,  Bach's  fellow-^npil  at  the  Lyceum. 


12  JOHANN  SEBASTIAN  BACH 

wards  Russian  Resident  at  Danzig),  and  entered 
the  choir  of  St.  Michael's  Convent.  His  fine 
treble  voice  procured  him  a  fair  livelihood.  But 
unfortunately  he  soon  lost  it  and  did  not  at  once 
develop  another.1 

Meanwhile  his  ambition  to  play  the  Organ  and 
Clavier  remained  as  keen  as  ever,  and  impelled 
him  to  hear  and  practise  everything  that  promised 
him  improvement.  For  that  purpose,  while  he 
was  at  Luneburg,  he  several  times  travelled  to 
Hamburg  to  hear  the  famous  organist,2  Johann 


1  Bach's  entry  into  the  choir  of  St.  Michael's  Convent,  Liineburg, 
took  place  about  Easter  1700.    The  step  was  taken  upon  the  advice 
of  Elias  Herda,  Cantor  at  the  Ohrdruf  Lyceum,  himself  a  former 
member  of  St.  Michael's.     Bach  remained  at  St.  Michael's  for  three 
years,  till  1703.     The  choir  library  was  particularly  rich  in  the  best 
church  music  of  the  period,  both  German  and  Italian.     Spitta  is  of 
opinion  that  Bach's  talents  as  a  violinist  and  Clavier  player  were  also 
laid  under  contribution.     His  voice,  as  Forkel  states,  soon  ceased  to 
be  serviceable.     His  maximum  pay  was  one  thaler  (t>-;'j  shillings) 
a  month  and  free  commons. 

2  Probably  Georg  Bohm,  who  had  relations  with  the  Convent  choir, 
inspired  Bach  to  make  the  pilgrimage.     TjShm,  then  at  St.  John's, 
Luneburg,   was  a  pupil  of  Reinken  of     lamburg.     Spitta  (i.  196) 
suggests  that  Bach's  cousin,  Johann  Erns  '"(see  Table  iv.),  was  at  this 
time  completing  his  musical  educa   on  at  Hamburg,  a  fact  which  may 
have  contributed  to  draw  iSaeh  thithor.     lie  made  more  than  one  visit, 
on  foot,  to  Hamburg.     F.  W.  Marpurg  i  ^iblished,  in  1786,  the  story, 
which  he  received  from  Bach  himself,  tir.  on  one  of  his  journeys  from 
Hamburg,  Bach  sat  down  outside  an  inn  and  hungrily  sniffed  the 
savours  from  its  kitchen.     His  pockets  were  empty  and  there  seemed 
little  prospect  of  a  meal,  when  a  window  was  opened  and  two  herring 
heads  were  thrown  out.     Bach  picked  them  up  eagerly,  and  found 
in  each  of  them  a  Danish  ducat.    \Vho  was  his  benefactor  he  never 
discovered  ;  the  gift  enabled  him  to  satisfy  his  hunger  and  pay  another 
visit  to  Hamburg. 


THE  CAREER  OF  BACH  13 

Adam  Reinken.1  Often,  too,  he  walked  to  Celle 
to  hear  the  Duke's  French  band  play  French 
music,  which  was  a  novelty  in  those  parts.2 

The  date  and  circumstances  of  his  removal  from 
Luneburg  to  Weimar  are  not  precisely  known.3 
He  certainly  became  Court  Musician  there  in 
1703,  when  he  was  just  over  eighteen  years  of 
age.4  But  hi  the  folio  whig  year  he  gave  up  the 
post  on  his  appointment  as  Organist  to  the  new 
Church  at  Arnstadt,  probably  desiring  to  develop 
his  taste  for  the  Organ  and  realising  that  he  would 
have  better  opportunities  to  do  so  at  Arnstadt 
than  at  Weimar,  where  he  was  engaged  simply  to 
play  the  Violin.5  At  Arnstadt  he  set  himself 
assiduously  to  study  the  works  of  the  celebrated 
organists  of  the  period,  so  far  as  his  modest  means 
permitted  him,  and  hi  order  to  improve  himself 

1  Johann  Adam  Reinken,  b.  1623,  became  Organist  of  St.  Catherine's 
Church,  Hamburg,  in  1654,  and  held  the  post  until  his  death  in  1722. 

2  His  introduction  to  French  music  marked  another  step  in  Bach's 
progressive  education.     The  reigning  Duke  of  Celle  (father-in-law  of 
George  i.  of  Great  Britain  and  Ireland)  had  married  a  Frenchwoman. 
The  Court  Organist  was  a  Frenchman.  See  Pirro, '  J.  S.  Bach,'  pp.  24-27. 

8  He  entered  the  Weimar  service  on  April  8,  1703  (Pirro,  p.  29). 

4  Bach's  engagement  was  in  the  private  band  of  the  younger  brother 
of  the  Duke.  He  remained  in  his  new  post  only  a  few  months.  He 
was  engaged  as  a  Violin  player,  and  since  his  interests  were  towards 
the  Organ  and  Clavier,  it  is  clear  that  he  accepted  the  engagement 
as  a  temporary  means  of  livelihood. 

8  He  is,  however,  described  in  July  1703  as  Court  Organist  (Pirro, 
p.  30).  Bach  was  drawn  to  Arniiadt  chiefly  by  the  fact  that  the  New 
Church  recently  had  been  equipped  with  a  particularly  fine  Organ 
(specification  in  Spitta,  i.  224),  which  existed  until  1863.  Bach 
inaugurated  it  on  July  13,  1703,jland  entered  on  his  duties  as  Organist 
of  the  church  in  the  following  mjmth  (Pirro,  p.  30). 


14  JOHANN  SEBASTIAN  BACH 

in  composition  l  and  Organ  playing,2  walked  the 
whole  way  to  Liibeck  to  hear  Dietrich  Buxtehude, 
Organist  of  St.  Mary's  Church  in  that  city,  with 
whose  compositions  he  was  acquainted  already. 
He  remained  there  about  three  months,3  listening 

1  His  earliest  Church  Cantata  (No.  15)  was  composed  here  in  1704. 
To  the  Arnstadt  period  (1703-7)  also  must  be  attributed  the  Capriccio 
written  on  the  departure  of  his  brother,  Johann  Jakob  (Peters  bk.  208 
p.  62),  the  Capriccio  in  honour  of  his  Ohrdruf  brother,  Johann  Christoph 
(Peters  bk.  215,  p.  34),  the  Sonata  in  D  major  (Peters  bk.  215,  p.  44), 
the  Organ  Prelude  and  Fugue  in  C  minor  (Novello  bk.  2  p.  48),  and 
the  Organ  Fugue  in  C  minor  (Novello  bk.  12  p.  95). 

2  In  the  '  Nekrolog '  C.  P.  E.  Bach  and  Agricola  remark  of  the 
Arnstadt  period,  that  Bach  then  '  really  showed  the  first-fruits  of  his 
industry  in  the  art  of  Organ-playing  and  composition,  which  he  had 
in  great  measure  learnt  only  from  the  study  of  the  works  of  the  most 
famous  composers  of  the  time,  and  from  his  own  reflections  on  them  ' 
(quoted  in  Spitta,  i.  235). 

3  Bach's  stipend  at  Arnstadt  was  not  inconsiderable,  and  his  duties 
engaged  him  only  at  stated  hours  on  Sundays,  Mondays,  and  Thursdays. 
He,  therefore,  had  leisure  and  the  means  to  employ  it.     In  October 
1705  he  obtained  four  weeks'  leave  of  absence  and  set  off  on  foot  to 
Liibeck,  after  leaving  an  efficient  deputy  behind  him.     He  stayed 
away  until  February  1706.    On  his  return  the  Consistory  demanded 
an  explanation  of  his  absence,  and  took  the  opportunity  to  remonstrate 
with  him  on  other  matters.    They  charged  him  'with  having  been 
hitherto  in  the  habit  of  making  surprising  variations  in  the  Chorals, 
and  intermixing  divers  strange  sounds,  so  that  thereby  the  congrega- 
tion were  confounded.'    They  charged  him  with  playing  too  long 
preludes,  and  after  this  was  notified  to  him,  of  making  them  too  short. 
They  reproached  him  '  with  having  gone  to  a  wineshop  last  Sunday 
during  sermon,'  and  cautioned  him  that,   'for  the  future  he  must 
behave  quite  differently  and  mur  ^better  than  he  has  done  hitherto' 
(see  the  whole  charge  in  Spitta,    9>  315  ff.).     Bach  also  was  on  bad 
terms  with  the  choir,  whose  members  had  got  out  of  hand  and  dis- 
cipline.    Before  his  Liibeck  visit     P  engaged  in  a  street  brawl  with 
one  of  the  scholars.     Then,  as  la  ,er,  he  was  a  choleric  gentleman. 
In  November  1706  he  got  into  furtl  ^r  trouble  for  having  '  made  music  ' 
in  the  church  with  a  '  stranger  ma  Jen,'  presumably  his  cousin  Maria 
Barbara  Bach,  then  on  a  visit  to  /Irnstadt ;    he  married  her  a  year 
later.    Clearly  the  relations  between  the  Consistory  and  the  brilliant 


THE  CAREER  OF  BACH  15 

to  the  celebrated  Organist,  but  without  making 
himself  known  to  him,  and  returned  to  Arnstadt 
with  his  experience  much  increased. 

Bach's  zeal  and  perse vering  diligence  had  already 
drawn  attention  to  him,  as  is  evident  from  the 
fact  that  he  received  hi  succession  several  offers 
of  vacant  organistships,  one  of  which,  at  the 
Church  of  St.  Blasius,  Muhlhausen,  he  accepted 
in  1707. x  Barely  a  year  after  he  entered  upon 
his  duties  there  2  he  again  visited  Weimar  and 
played  to  the  Duke,  who  was  so  pleased  with  his 
performance  that  he  offered  him  the  post  of  Court 
Organist,  which  he  accepted.3  Weimar  promised 

young  Organist  were  becoming  difficult,  and  Bach's  migration  to 
Muhlhausen  no  doubt  was  grateful  to  both.  His  resignation  was  made 
formally  on  June  29,  1707. 

1  Bach  was  appointed  on  June  15,  1707,  to  succeed  Johann  Georg 
Ahle.    Muhlhausen  prided  itself  upon  its  musical  traditions.     Bach's 
Cantata,  No.  71,  written  in  February  1708  for  the  inauguration  of  the 
Muhlhausen  Town  Council,  was  engraved  (the  parts  only),  the  only 
one  of  the  206  Cantatas  which  have  come  down  to  us  which  was 
printed  during  Bach's  lifetime.     He  also  composed  Cantatas  131  and 
196  at  Muhlhausen,  and  perhaps  three  others.     See  infra,  p.  188. 

2  Bach's  petition  to  the  Muhlhausen  Consistory  for  permission  to 
resign  his  post  is  dated  June  25,  1708,  and  is  printed  in  full  by  Spitta, 
i.  373.     Bach  mentions  the  Weimar  post  as  having  been  offered  to 
him,  but  bases  his  desire  to  resign  the  organ  of  St.  Blasius,  partly  on 
the  ground  that  his  income  was  inadequate,  partly  because,  though  he 
had  succeeded  in  improving  the  01  ;an  and  the  conditions  of  music 
generally,  he  saw  '  not  the  slightest  appearance  that  things  will  be 
altered'  for  the  better.     Muhlhaurfen,  in  fact,  was  a  stronghold  of 
Pietism  and  unsympathetic  to  Ba<>Vs  musical  ideals. 

3  He  was  Court  Organist  and  K:  mmermusikus.     In  the  latter  post 
Bach  was  of  use  as  a  Violinist  and  Clavier  player.     The  Court  band, 
or  Kapelle,  on  special  occasions  appeared  in  Hungarian  costume,  which 
Bach  presumably  donned.     His  income  began  at  a  sum  nearly  double 
that  he  had  received  at  Arnstadt  \.nd  Muhlhausen. 


16  JOHANN  SEBASTIAN  BACH 

him  a  particularly  agreeable  atmosphere  in  which 
to  cultivate  his  genius.1  He  applied  himself 
closely  to  his  work,  and  probably  at  this  period 
achieved  the  mastery  of  the  Organ  that  he  ever 
afterwards  possessed.  At  Weimar  also  he  wrote 
his  great  compositions  for  that  instrument.2  In 
1717  3  the  Duke  appointed  him  Concertmeister, 
a  post  which  gave  him  further  opportunity  to 
develop  his  art,  since  it  required  him  to  compose 
and  direct  Church  music. 

It  was  about  this  time  that  Zachau,  Handel's 
master,  died  at  Halle,  where  he  was  Organist.4 
Bach,  who  by  now  had  acquired  a  great  reputation, 
was  invited  to  succeed  him.5  He  visited  Halle 

1  The  character  of  his  employer,  Duke  Wilhelm  Ernst  of  Saxe- 
Weimar,  must  be  reckoned  a  factor  in  the  development  of  the  youthful 
Bach.  The  Duke  was  not  only  a  cultured  artist,  but  was  also  a  man 
of  genuine  piety. 

*  Though  Bach  retouched  them  in  later  years  and  wrote  others,  it 
may  be  stated  in  general  terms  that  his  Organ  works  were  the  fruit 
of  the  Weimar  period,  which  lasted  from  1708  till  1717. 

3  Bach's  promotion  to  the  position  of  Concertmeister  had  taken 
place  certainly  before  March  19,  1714,  on  which  date  Spitta  (i.  517) 
prints  a  letter  in  which  Bach  gives  himself  the  title.  The  increase  in 
his  income  early  in  1714  also  supports  the  conclusion,  while  a  letter 
of  January  14, 1714,  written  by  Bach,  is  not  signed  by  him  as  Concert- 
meister. It  would  seem  that  his  promotion  took  place  in  the  interval 
between  the  two  letters.  As  Concertmeister  it  was  part  of  his  duty 
to  provide  Cantatas  for  the  church  services.  Twenty-two  were 
written  by  him  at  Weimar.  See  infra,  p.  188,  for  a  list  of  them. 

•  Friedrich  Wilhelm  Zachau  diti  on  August  7  or  14,  1712. 

6  Spitta  (i.  513)  infers  that,  in  the  later  years  of  the  Weimar  period, 
Bach  spent  part  of  the  autumn  ( *  every  year  in  visits  to  the  Courts 
and  larger  towns  of  Germany  in  jrder  to  give  Organ  recitals  and  to 
conduct  performances  of  his  Cant,  tas.  Besides  the  visit  to  Halle,  in 
1713,  to  which  Forkel  alludes,  Bach  performed  at  Cassel  in  1713  or 


THE  CAREER  OF  BACH  17 

and  composed  a  work  as  a  specimen  of  his  skill. 
But  for  some  reason  unknown  he  did  not  obtain 
the  post.  It  was  given  to  a  clever  pupil  of  Zachau, 
named  Kirchhoff.1 

Johann  Sebastian  was  now  thirty-two  years  old. 
He  had  made  good  use  of  his  opportunities,  had 
studied  hard  as  a  player  and  composer,  and  by 
tireless  enthusiasm  had  so  completely  mastered 
every  branch  of  his  art,  that  he  towered  like  a 
giant  above  his  contemporaries.  Both  amateurs 
and  professional  musicians  already  regarded  him 
with  admiration  when,  in  1717,  Marchand, 
the  French  virtuoso,  a  celebrated  Clavier  and 


1714  before  the  future  Frederick  i.  of  Sweden,  who  presented  him  with 
a  ring  which  he  drew  from  his  finger.  Bach's  feet,  an  admirer  recorded, 
'  flew  over  the  pedal-board  as  if  they  had  wings.'  In  December  1714 
he  visited  Leipzig  and  performed  Cantata  No.  61,  '  Nun  komm,  der 
Heiden  Heiland.'  In  1716  he  was  again  invited  to  Halle,  and  at  about 
the  same  time  performed  at  Meiningen.  Forkel  records  the  famous 
contest  with  Marchand,  the  French  Organist,  at  Dresden  in 
1717. 

1  ForkePs  brief  account  follows  the  '  Nekrolog.'  Bach  was  in  Halle 
in  the  autumn  of  1713,  a  year  after  Zachau's  death.  The  latter's  post 
was  still  vacant  and  a  new  and  particularly  large  Organ  (sixty-three 
speaking  stops)  was  being  erected.  The  authorities  pressed  Bach  to 
submit  himself  to  the  prescribed  tests,  and  he  complied  so  far  as  to 
compose  a  Cantata  and  to  conduct  a  performance  of  it.  On  his  return 
to  Weimar  he  received  a  formal  invitation  to  accept  the  post.  After 
some  correspondence  Bach  refused  it,  partly,  perhaps  chiefly,  on  the 
ground  that  the  income  was  inadequate.  The  refusal  was  answered 
by  the  groundless  accusation  that  he  had  merely  entertained  the  Halle 
proposal  in  order  to  bring  pressure  upon  Weimar  for  a  rise  of  salary. 
The  misunderstanding  was  cleared  away  by  1716,  when  Bach  visited 
Halle  again.  In  the  interval  Zachau's  post  had  been  given  to  his  pupil, 
Gottfried  Kirchhoff.  The  whole  matter  is  discussed  at  length  in 
Spitta,  i.  515  S. 

B 


18  JOHANN  SEBASTIAN  BACH 

Organ  player,  visited  Dresden.  He  played  before 
the  King-Elector  *  and  won  such  approbation  that 
he  was  offered  a  large  salary  to  enter  His  Majesty's 
service.2  Marchand's  chief  merit  was  his  finished 
technique.  Like  Couperin,3  his  musical  ideas 
were  weak  to  the  point  of  banality,  as  we  may 
judge  from  his  compositions.4  Bach  was  an 
equally  finished  player,  and  so  rich  in  ideas  that 
Marchand's  head  would  have  swollen  had  he 
been  equally  gifted.  Volumier,  Concertmeister 
at  Dresden,5  was  aware  of  these  circumstances, 
and  knowing  that  the  young  German  had  his  in- 
strument and  his  imagination  under  the  fullest 
control,  determined  to  arrange  a  contest  between 
the  two  men  in  order  to  give  his  sovereign  the 
satisfaction  of  judging  their  merits.  With  the 
King's  approbation,  a  message  was  dispatched 

1  Frederick  Augustus  i.  of  Saxony  was  elected,  as  Augustus  n.,  to 
the  throne  of  Poland  in  1697.     He  died  In  1733. 

2  Louis  Marchand,  b.  1669,  d.  1732 ;  Organist  to  the  French  Court 
and  later  of  the  Church  of  St.  Honore,  Paris.     His  arrival  in  Dresden 
was  due  to  his  being  in  disgrace  at  Versailles.     Whether  or  not  he  was 
offered  a  permanent  engagement  at  the  Saxon  Court,  he  was  regarded 
as  the  champion  of  the  French  style,  and  as  such  the  challenge  was 
issued  to  him  by  Bach. 

8  Francois  Couperin,  b.  1668,  d.  1733 ;  Organist  of  St.  Gervais, 
Paris.  Forkel's  judgment  upon  his  art  is  not  supported  by  modern 
criticism. 

*  Bach,  however,  admired  Marchand's  compositions  sufficiently  to 
give  them  to  his  pupils.  See  Pirro,  p.  52. 

6  Jean-Baptiste  Volumier,  an  acquaintance  of  Bach,  according  to 
Spitta  (i.  583).  Eitner,  '  Quellen  Lexikon,'  says  that  he  was  born  in 
Spain  and  educated  in  France.  Grove's  '  Dictionary '  declares  him  a 
Belgian.  In  1709  he  was  appointed  Concertmeister  to  the  Saxon 
Court.  He  died  at  Dresden  in  1728. 


THE  CAREER  OF  BACH  19 

to  Bach  at  Weimar  x  inviting  him  to  a  contest 
with  Marchand.  Bach  accepted  the  invitation 
and  set  out  at  once  on  his  journey.  Upon  his 
arrival  at  Dresden  Volumier  procured  him  an 
opportunity  to  hear  Marchand  secretly.  Far 
from  being  discouraged  by  what  he  heard,  Bach 
wrote  a  polite  note  to  the  French  artist  challeng- 
ing him  to  a  trial  of  skill,  and  offering  to  play 
at  sight  anything  Marchand  put  before  him, 
provided  the  Frenchman  submitted  himself  to 
a  similar  test.  Marchand  accepted  the  challenge, 
a  time  and  place  for  the  contest  were  fixed,  and 
the  King  gave  his  approval.  At  the  appointed 
hour  a  large  and  distinguished  company  assembled 
in  the  house  of  Marshal  Count  Flemming.2 
Bach  arrived  punctually ;  Marchand  did  not 
appear.  After  considerable  delay  he  was  sought 
at  his  lodging,  when  it  was  discovered,  to  the 
astonishment  of  all,  that  he  had  left  Dresden 
that  morning  without  taking  leave  of  anybody. 
Bach  therefore  performed  alone,  and  excited  the 
admiration  of  all  who  heard  him,  though  Volumier 
was  cheated  of  his  intention  to  exhibit  the  in- 
feriority of  French  to  German  art.  Bach  was 
overwhelmed  with  congratulations ;  but  the  dis- 
honesty of  a  Court  official  is  said  to  have  inter- 

1  It  is  more  probable  that  Bach  was  at  Dresden  either  expressly  to 
hear  Marchand  or  upon  one  of  his  autumn  tours. 

2  Some  years  earlier  Flemming  had  witnessed  Handel's  triumphant 
descent  on  the  Saxon  Court,  but  had  failed  to  establish  friendly  rela- 
tions ™+V>  him.     See  Streatfield's  '  Hand*!,'  p.  87. 


20  JOHANN  SEBASTIAN  BACH 

cepted  a  present  of  one  hundred  louis  d'or  sent 
to  him  by  the  King.1 

Bach  had  not  long  returned  to  Weimar  when 
Prince  Leopold  of  Anhalt-Cothen,  a  good  judge 
of  music  and  a  first-rate  amateur,2  offered  him 
the  post  of  Kapellmeister.  He  entered  at  once 
upon  his  new  office  3  and  held  it  for  about  six 
years.4  At  this  period,  about  1722,5  he  visited 

1  The  article  on  Marchand  in  Grove  gives  a  different  version  of  the 
affair,  based  upon  Joseph  Fetis  (1784-1871).     According  to  this  story 
of  the  event,  Bach,  summoned  from  Weimar,  attended  Marchand's 
concert  incognito,  and  after  hearing  Marchand  perform,  was  invited 
by  Volumier  to  take  his  seat  at  the  Clavier.     Bach  thereupon  repeated 
from  memory  Marchand's  theme  and  variations,  and  added  others  of 
his  own.     Having  ended,  he  handed  Marchand  a  theme  for  treatment 
on  the  Organ  and  challenged  him  to  a  contest.     Marchand  accepted 
it,  but  left  Dresden  before  the  appointed  hour. 

2  The  Prince  was  brother-in-law  of  Duke  Ernst  August  of  Saxe- Weimar. 
Bach  was,  therefore,  already  known  to  him  and  showed  the  greatest 
regard  for  him  both  at  Cothen  and  after  he  had  left  his  service. 

3  The  reason  for  Bach's  migration  from  Weimar  to  Cothen  was  his 
failure  to  obtain  the  post  of  Kapellmeister  at  the  former  Court  upon 
the  death  of  Johann  Samuel  Drese  in  1716.     The  post  was  given  to 
Drese's  son.     On  August  1,  1717,  just  before  or  after  his  Marchand 
triumph,  Bach  was  appointed  Kapellmeister  to  the  Court  of  Cothen. 
Duke  Wilhelm  Ernst  refused  to  release  him  from  his  engagement,  and 
Bach   endured    imprisonment   from   November   6   to   December   2, 
1717,  for  demanding  instant  permission  to  take  up  his  new  post.     Pro- 
bably his  last  work  at  Weimar  was  to  put  the  '  Orgelbiichlein  '  into  the 
form  in  which  it  has  come  down  to  us  (see  articles  by  the  present 
writer  in  '  The  Musical  Times '  for  January-March  1917). 

With  his  departure  from  Weimar  in  1718  Bach  left  behind  him  the 
distinctively  Organ  period  of  his  musical  fertility.  Though  his  com- 
positions were  still  by  no  means  generally  known,  as  a  player  he  held 
an  unchallenged  pre-eminence. 

•  He  was  appointed  to  Cothen  on  August  1,  1717,  and  was  inducted 
at  Leipzig  on  May  31,  1723. 

6  The  date  actually  was  November  1720.  At  Cothen  Bach  had  an 
inferior  Organ  and  little  scope  for  his  attainments ;  his  chief  duties 


THE  CAREER  OF  BACH  21 

Hamburg,  played  the  Organ  there,  and  excited 
general  admiration.  The  veteran  Reinken — he 
was  nearly  one  hundred  years  old — was  particu- 
larly impressed  by  Bach's  performance.  After 
he  had  treated  the  Choral  '  An  Wasserflussen 
Babylon '  for  half  an  hour  in  variation  after 
variation  in  the  true  Organ  style,1  Reinken  paid 
him  the  compliment  of  saying,  '  I  thought  this  art 
was  dead,  but  I  see  that  it  survives  in  you.' 
Reinken  had  treated  the  same  Choral  hi  a  similar 
manner  some  years  before  and  had  had  his  work 
engraved,  showing  that  he  thought  highly  of  it. 
His  praise  therefore  was  particularly  flattering 
to  Bach.2 

On  the  death  of  Kuhnau  in  1723  3  Bach  was 
appointed  Director  of  Music  and  Cantor  to  St. 
Thomas'  School,  Leipzig,4  a  position  which  he 

were  in  connection  with  the  Prince's  band.  The  yearning  to  get  back 
to  the  Organ,  which  eventually  took  him  to  Leipzig  in  1723,  shows 
itself  in  his  readiness  to  entertain  an  invitation  to  Hamburg  in  1720. 

1  Three  Organ  movements  by  Bach  upon  Wolfgang  Dachstein's 
melody,  'An  Wasserflussen  Babylon,'  are  extant.     See  notes  upon 
them  and  their  relation  to  the  Hamburg  extemporisation  in  Terry, 
'  Bach's  Chorals,'  Part  HE. 

2  As  at  Halle  in  1713,  Bach  does  not  appear  to  have  gone  to  Hamburg 
specially  to  compete  for  the  post  of  Organist  to  the  Church  of  St. 
James,  vacant  by  the  death  of  Heinrich  Friese  in  September  1720.     He 
was  not  able  to  stay  to  take  part  in  the  final  tests,  nor  was  he  asked  to 
submit  to  them,  since  his  visit  to  Hamburg  had  given  him  an  oppor- 
tunity to  display  his  gifts.     In  the  result  the  post  was  given  to  Johann 
Joachim  Heitmann,  who  acknowledged  his  appointment  by  forthwith 
paying  4000  marks  to  the  treasury  of  the  Church.    See  Spitta,  ii.  17  ff. 

8  Johann  Kuhnau  died  on  June  25,  1722. 

4  On  the  title-pages  of  his  published  works  Bach  describes  himself 
as  '  Capelbn.  und  Direct.  Chor.  Mus.  Lips.' 


22  JOHANN  SEBASTIAN  BACH 

occupied  until  his  death.  Prince  Leopold  of 
Anhalt-Cothen  had  great  regard  for  him  and 
Bach  left  his  service  with  regret.1  But  he  saw 
the  finger  of  Providence  in  the  event ;  for  the 
Prince  died  shortly  afterwards.2  The  loss  of  his 
patron  affected  him  deeply,  and  moved  him  to 
compose  a  funeral  Cantata  containing  remarkably 
fine  double  choruses  which  he  himself  conducted 
at  Cothen.3  While  he  was  at  St.  Thomas'  he 
was  appointed  honorary  Kapellmeister  to  the 
Duke  of  Weissenfels  4  and,  in  the  following  year 

1  Forkel  has  practically  nothing   to  say  regarding   the   Leipzig 
period  of  Bach's  musical  life.     That  a  professed  historian  of  music, 
setting  before  the  public  for  the  first  time  the  life  of  one  whom  he 
so  greatly  extolled,  and  with  every  inducement  to  present  as  complete 
a  picture  of  him  as  was  possible,  should  have  taken  no  trouble  to  carry 
his  investigations  beyond  the  point  C.  P.  E.  Bach  and  Agricola  had 
reached  in  the  '  Nekrolog '  of  1754  is  almost  incredible.    The  only 
reason  that  can  be  adduced,  apart  from  the  lack  of  a  really  scientific 
impulse,  is  that  Forkel  was  almost  entirely  ignorant  of  the  flood  of 
concerted  church  music  which  poured  from  Leipzig  from  1723  to  1744. 
His  criticism  of  Bach  as  a  composer  is  restricted  practically  to  Bach's 
Organ  and  Clavier  works. 

2  On  November  19,   1728.     Latterly  his  interest  in   music  had 
waned.    The  fact,  along  with  Bach's  concern  for  the  education  of  his 
sons  and  his  desire  to  return  to  the  Organ,  explains  his  abandonment 
of  the  more  dignified  Cothen  appointment. 

8  The  score  of  this  work  was  in  Forkel's  possession,  but  was  missing 
from  his  library  in  1818  and  was  assumed  to  be  lost  until,  in  1873, 
Rust  was  able  to  show  that  Bach  used  for  the  occasion  certain 
choruses  and  Arias  from  the  'St.  Matthew  Passion,'  which 
he  was  then  writing,  with  the  first  chorus  of  the  'Trauer- 
Ode '  as  an  opening  of  the  extemporised  work.  See  Spitta,  ii.  618 ; 
Schweitzer,  ii.  208. 

*  In  1723  he  received  the  title  '  Hochfiirstlich  Weissenfelsische 
wirkliche  Kapellmeister '  and  retained  it  till  his  death.  He  retained 
also  his  Cothen  appointment. 


THE  CAREER  OF  BACH  23 

(1736),  received  the  title  of  Court  Composer 
to  the  King-Elector  of  Poland -Saxony.1  The 
two  compliments  are  not  of  great  consequence, 
and  the  second  was  to  some  degree  corollary 
to  Bach's  position  as  Cantor  of  St.  Thomas' 
School.2 

Carl  Philipp  Emmanuel,  Bach's  second  son, 
entered  the  service  of  Frederick  the  Great  of 
Prussia  in  1740.  So  widely  was  Bach's  skill 
recognised  by  this  time  that  the  King,  who  often 
heard  him  praised,  was  curious  to  meet  so  great 
an  artist.  More  than  once  he  hinted  to  Carl 
Philipp  Emmanuel  that  it  would  be  agreeable 
to  welcome  his  father  to  Potsdam,  and  as  Bach 
did  not  appear,  desired  to  know  the  reason. 
Carl  Philipp  did  not  fail  to  acquaint  his  father 
with  the  King's  interest.  But  for  some  time 
Bach  was  too  occupied  with  his  duties  to  accede 
to  the  invitation.  However,  as  Carl  Philipp 
continued  to  urge  him,  he  set  out  for  Potsdam 
towards  the  end  of  1747,  in  company  with  his 
eldest  son,  Wilhelm  Friedemann.3  It  was  the 
King's  custom  to  hold  a  private  concert  every 

1  Augustus  in.     Bach  had  petitioned  for  the  appointment  in  a 
letter  dated  July  27,  1733  (Spitta,  iii.  38),  forwarding  a  copy  of  the 
newly-written  Kyrie  and  Gloria  of  the  B  minor  Mass. 

2  There  does  not  appear  to  be  any  ground  for  the  suggestion  that 
the  post  of  Hofcomponist  to  the  Dresden  Court  was  attached  ex  qfficio 
to  the  St.  Thomas'  Cantorate.     Bach  applied  for  it  in  1733,  taking 
advantage  of  the  recent  accession  of  the  new  sovereign,  Augustus  m.t 
in  February  1733. 

3  Friedemann  was  then  at  Halle. 


24  JOHANN  SEBASTIAN  BACH 

evening,  and  to  take  part  on  the  flute  in  a  Concerto 
or  two.  One  evening,1  when  he  had  got  out  his 
flute  and  the  musicians  were  at  their  desks,  an 
official  brought  him  a  list  of  the  strangers  newly 
arrived  at  Potsdam.  Flute  hi  hand  the  Bang 
ran  through  the  names,  and  suddenly  turning  to 
the  waiting  musicians,  said  with  considerable 
excitement,  '  Gentlemen,  Old  Bach  has  arrived.' 
The  flute  was  put  away  for  the  evening,  and 
Bach,  wh»o  had  alighted  at  his  son's  lodging,  was 
summoned  immediately  to  the  Palace.  Wilhelm 
Friedemann,  who  accompanied  his  father,  often 
told  me  the  story.  Nor  am  I  likely  to  forget  the 
racy  manner  hi  which  he  related  it.  The  courtesy 
of  those  days  demanded  rather  prolix  compliments, 
and  the  first  introduction  of  Bach  to  so  illustrious 
a  monarch,  into  whose  presence  he  had  hurried 
without  being  allowed,  time  to  change  his  travel- 
ling dress  for  a  Cantor's  black  gown,  obviously 
invited  ceremonial  speeches  on  both  sides.  I  will 
not  dwell  on  them  ;  Wilhelm  Friedemann  related 

1  May  7,  1747,  according  to  Spitta,  quoting  Friedrich  Wilhelm 
Marpurg's  '  Historisch-kritische  Beytrage  zur  Aufnahme  der  Musik,' 
which  appeared  in  5  vols.  between  1754-1778.  On  the  other  hand, 
Spener,  who  first  records  the  event,  states  briefly  :  '  May  11, 1747.  His 
Majesty  was  informed  that  Kapellmeister  Bach  had  arrived  in  Potsdam, 
and  that  he  was  in  the  Bang's  ante-chamber,  waiting  His  Majesty's 
gracious  permission  to  enter,  and  hear  the  music.  His  Majesty  at  once 
commanded  that  he  should  be  admitted '  (Spitta,  iii.  231  n.).  If  the 
Marpurg  and  Spener  dates  are  reliable,  it  looks  as  though  Friede- 
mann's  story  of  his  father,  travel-stained  and  weary,  being  hurried 
incontinent  into  the  presence  of  the  King  is  a  piece  of  picturesque 
embroidery. 


THE  CAREER  OF  BACH  25 

a  lengthy  and  formal  conversation  between  the 
King  and  the  Cantor.1 

More  worthy  of  record  is  the  fact  that  the  King 
gave  up  his  concert  for  that  evening  and  invited 
Bach,  already  known  as  '  Old  Bach,'  to  try  the 
Silbermann  pianofortes  2  which  stood  hi  various 
parts  of  the  Palace.*  Accompanied  from  room  to 
room  by  the  King  and  the  musicians,  Bach  tried 
the  instruments  and  improvised  upon  them  before 
his  illustrious  companion.  After  some  time  he 
asked  the  King  to  give  him  a  subject  for  a  Fugue, 
that  he  might  treat  it  extempore.  The  King  did 
so,  and  expressed  his  astonishment  at  Bach's 
profound  skill  in  developing  it.  Anxious  to  see 
to  what  lengths  the  art  could  be  carried,  the  King 
desired  Bach  to  improvise  a  six-part  Fugue.  But 
as  every  subject  is  not  suitable  for  polyphonic 


1  Clearly  this  was  a  story  that  Wilhelm  Friedemann  prided  himself 
on  the  telling,  and  Forkel's  remark  suggests  the  need  for  caution  in 
accepting  all  its  details.     Frederick's  courtesy  to  Bach,  however,  tends 
to  discredit  the  story  that  ten  years  earlier  (1737)  Handel  deliberately 
refused  to  meet  the  King  at  Aix-la-Chapelle  owing  to  the  peremptori- 
ness  of  his  summons.    Mr.  Streatfield  (p.  145)  also  shows  that  Frederick 
was  not  at  Aix  until  1741,  when  Handel  was  writing  the  '  Messiah '  in 
London. 

2  Gottfried  Silbermann,  a  pioneer  of  the  modern  pianoforte.     Bach 
was  already  familiar  with  his  Claviers  with  hammer  action,  and  indeed 
had  offered  useful  criticism  of  which  Silbermann  had  taken  advantage. 
See  Spitta,  ii.  46. 

*  The  pianofortes  manufactured  by  Silbermann,  of  Freiberg,  pleased 
the  King  so  much,  that  he  resolved  to  buy  them  all.  He  collected 
fifteen.  I  hear  that  they  all  now  stand,  unfit  for  use,  in  various  corners 
of  the  Royal  Palace.  [Robert  Eitner,  in  1873,  found  one  of  the  pianos 
in  Frederick  the  Great's  room  at  Potsdam.] 


26  JOHANN  SEBASTIAN  BACH 

treatment,  Bach  himself  chose  a  theme  and,  to 
the  astonishment  of  all  who  were  present,  developed 
it  with  the  skill  and  distinction  he  had  shown  in 
treating  the  King's  subject.  His  Majesty  ex- 
pressed a  wish  to  hear  him  on  the  Organ  also. 
Accordingly,  next  day,  Bach  inspected  all  the 
Organs  in  Potsdam,1  as  the  evening  before  he  had 
tried  the  Silbermann  pianofortes.  On  his  return  to 
Leipzig  he  developed  the  King's  theme  in  three  and 
six  parts,  added  Canoms  diversi  upon  it,  engraved 
the  whole  under  the  title  '  Musikalisches  Opfer ' 
and  dedicated  it  to  the  royal  author  of  the  theme.2 
His  visit  to  Potsdam  was  Bach's  last  journey. 
The  indefatigable  diligence  he  had  shown  all  his 
life,  and  particularly  in  his  younger  years,  when 
successive  days  and  nights  were  given  to  study, 
seriously  affected  his  eye-sight.  The  weakness 
grew  with  age  and  became  very  distressing  in 
character.  On  the  advice  of  friends  who  placed 
great  confidence  in  the  skill  of  a  London  oculist 
lately  come  to  Leipzig,3  Bach  submitted  to  an 

1  According  to  another  account,  which  Spitta  (iii.  232)  follows,  Bach 
played  before  a  large  congregation  in  the  Church  of  the  Holy  Spirit, 
Potsdam.    The  King  does  not  appear  to  have  been  present.     The 
extemporisation  of  the  six- part  Fugue  took  place  in  Frederick's  presence 
on  the  evening  of  that  day. 

2  Bach's  letter  to  Frederick  accompanying  the  gift  is  dated  7th  July 
1747.     He  calls  it  '  a  musical  offering,  of  which  the  noblest  portion  is 
the  work  of  Your  Majesty's  illustrious  hand.'     In  addition  to  Forkel's 
analysis  it  contains  a  Sonata  for  Flute,  Violin,  and  Clavier,  and  a 
canon  perpetuus  for  the  same  three  instruments. 

8  John  Taylor  (1703-72),  oculist  to  George  n.     The  operation  took 
place  in  the  winter  of  1749-50.     Taylor  is  said  to  have  operated  on 


THE  CAREER  OF  BACH  27 

operation,  which  twice  failed.  He  lost  his  sight 
completely  in  consequence,  and  his  hitherto 
vigorous  constitution  was  undermined  by  the 
drugs  administered  to  him.  He  sank  gradually 
for  full  half  a  year,  and  expired  on  the  evening 
of  July  30,  1750,  in  the  sixty-sixth  year  of  his 
age.1  Ten  days  before  his  death  2  he  was  suddenly 
able  to  see  again  and  to  bear  the  light.  A  few 
hours  later  he  was  seized  by  an  apoplexy  and 
inflammatory  fever,  and  notwithstanding  all 
possible  medical  aid,  his  weakened  frame  suc- 
cumbed to  the  attack. 

Such  was  the  career  of  this  remarkable  man. 
I  will  only  add  that  he  was  twice  married,  and 
that  he  had  by  his  first  wife  seven,  and  by  his 
second  wife  thirteen  children ;  in  all,  eleven 
sons  and  nine  daughters.3  All  of  his  sons  had  an 

Handel  in  1751  (see  the  article  on  him  in  the  '  Diet.  Nat.  Biography.'). 
Streatfield  ('  Handel,'  p.  212),  however,  does  not  mention  Taylor,  and 
his  account  suggests  that  Samuel  Sharp,  of  Guy's  Hospital,  was  the 
operator  in  Handel's  case. 

1  The  actual  date  was  July  28,  at  8.45  P.M.  Bach  was  working 
to  the  very  moment  of  his  collapse  on  July  18.  Probably  his  last 
work  was  the  Choral  Prelude  (Novello  bk.  xvii.  85)  on  the  melody 
'  Wenn  wir  in  hochsten  Nothen  sein.'  Facing  eternity,  he  bade  bis 
son-in-law,  Altnikol,  inscribe  the  movement  with  the  title  of  the 
Hymn,  *  Vor  deinen  Thron  tret  ich  hiemit,'  whose  first  stanza  filled 
his  mind : 

Before  Thy  throne,  my  God,  I  stand, 

Myself,  my  all,  are  in  Thy  hand. 

An  addendum  to  the  Genealogy,  in  C.  P.  E.  Bach's  hand,  gives 
July  30  as  the  date  of  his  father's  death. 
8  July  18. 
8  See  Genealogical  Tables  vn.  and  vm. 


28  JOHANN  SEBASTIAN  BACH 

admirable  talent  for  music,  but  only  the  elder 
ones  fully  developed  it.1 

1  The  statement  is  misleading.  Of  the  five  sona  of  the  first  marriage, 
two  were  famous,  two  died  in  infancy,  and  the  fifth  abandoned  a  pro- 
mising musical  career  for  the  law.  Of  the  six  sons  of  the  second 
marriage,  one  was  imbecile,  three  died  in  infancy,  two  were  famous. 


THE  CHURCH   AND   SCHOOL  OK  ST.    THOMAS,    LEIPZIG,    IN    1723. 


CHAPTER  II  A1 

BACH  AT  LEIPZIG,    1723-1750 

EACH  was  inducted  into  his  office  as  Cantor  of 
St.  Thomas'  School  at  nine  o'clock  on  the  morning 
of  Monday,  May  31,  1723.  He  died  in  his  official 
residence  there  at  a  quarter  to  nine  on  the  evening 
of  Tuesday,  July  28,  1750.  He  was  buried  early 
on  the  morning  of  Friday,  July  31,  in  the 
churchyard  of  St.  John's,  Leipzig. 

The  announcement  of  his  death,  made  from  the 
pulpit  of  St.  Thomas'  on  the  day  of  his  funeral, 
described  him  as  '  Court  Composer  to  His  Majesty 
the  King  of  Poland  and  Electoral  and  Serene 
Highness  of  Saxony,  Kapellmeister  to  His  High- 
ness the  Prince  of  Anhalt-Cothen,  and  Cantor  to 
St.  Thomas'  School  of  this  town.'  Bach  usually 
designated  himself  '  Director  Chori  Musici  Lip- 
siensis,'  or  shortly,  '  Director  Musices.'  Circum- 
stances led  him  to  emphasise  a  title  which  asserted 
a  musical  prerogative  not  confined  to  the  School 
and  the  churches  it  served. 

The  Cantor  of  St.  Thomas'  was  charged  for- 
merly with  the  musical  direction  of  four  Leipzig 

1  See  Introduction,  p.  xxi,  supra. 


30  JOHANN  SEBASTIAN  BACH 

churches :  St.  Thomas',  St.  Nicolas',  St.  Peter's, 
and  the  New  Church.  He  was  also  responsible 
for  the  music  in  the  University  Church  of  St. 
Paul,  the  so-called  '  old  service,'  held  originally 
on  the  Festivals  of  Easter,  Whit,  Christmas,  and 
the  Reformation,  and  once  during  each  University 
quarter.  On  high  days  music  also  had  to  be 
provided  at  St.  John's  Church. 

Bach,  as  Cantor,  succeeded  to  a  more  restricted 
responsibility,  which  dated  from  the  early  years 
of  the  eighteenth  century.  The  New  Church, 
originally  the  Church  of  the  Franciscans,  had  been 
restored  to  use  in  1699.  In  1704  Georg  Philipp 
Telemann,  who  came  to  Leipzig  as  a  law  student 
three  years  before,  was  appointed  Organist  there. 
He  also  founded  the  Collegium  Musicum,  or  Uni- 
versity Musical  Society,  a  farther  slight  upon  the 
Cantor's  position.  Not  until  1729  did  the  Society 
pass  under  Bach's  direction  and  its  members 
become  available  as  auxiliaries  in  the  church 
choirs  under  his  charge.  Notwithstanding  that 
Bach's  predecessor  Kuhnau  had  protested  against 
Telemann' s  independence,  the  direction  of  the 
New  Church's  music  passed  out  of  the  Cantor's 
control,  though  the  School  continued  to  provide 
the  choristers.  Six  years  later  the  University 
Church  of  St.  Paul  also  began  an  independent 
course.  In  1710  the  authorities  resolved  to  hold 
a  University  service  in  the  church  every  Sunday. 
Kuhnau  asserted  his  prerogative  as  Cantor.  But 


BACH  AT  LEIPZIG,  1723-1750          31 

he  was  only  able  to  maintain  it  by  offering  to 
provide  the  music  for  the  '  new  service '  as  well 
as  for  the  '  old  service  '  at  the  fee  of  twelve  thalers 
which  the  University  so  far  had  paid  for  the 
latter.  After  his  death  the  University  appointed 
(April  3,  1723)  Johann  Gottlieb  Gorner,  already 
Organist  of  St.  Nicolas'  since  1721,  to  control  the 
music  both  of  the  c  old '  and  '  new '  services,  for 
which  the  University  provided  the  choir.  Not 
until  after  a  direct  appeal  to  the  King  did  Bach 
succeed,  in  1726,  in  compelling  the  University  to 
restore  to  the  Cantor  his  emoluments  in  regard 
to  the  '  old  service,'  the  conduct  of  which  had 
been  restored  to  him  on  his  appointment  as 
Cantor.  The  *  new  service '  remained  under 
Gorner' s  direction.  As  to  St.  Peter's,  its  services, 
which  had  entirely  ceased,  were  revived  in  1711. 
The  music,  however,  was  simple,  and  consisted 
only  of  hymns. 

Thus  Bach,  as  Cantor,  was  responsible  for  the 
music  in  the  two  principal  churches,  St.  Thomas' 
and  St.  Nicolas'.  The  School  also  provided  the 
choir  for  St.  Peter's  and  the  New  Church.  The 
junior  and  least  competent  singers  sang  at  St. 
Peter's.  The  rest  were  pretty  equally  distributed 
between  the  other  three  churches.  At  the  New 
Church  the  music  was  performed  under  the  direc- 
tion of  a  Chorprafect.  At  St.  Thomas'  and  St. 
Nicolas'  Bach  personally  directed  the  concerted 
music.  On  ordinary  Sundays  a  Cantata  or  Motet 


32  JOHANN  SEBASTIAN  BACH 

was  performed  in  each  church  alternately.  At 
the  great  Festivals,  New  Year,  Epiphany,  Ascen- 
sion Day,  Trinity  Sunday,  and  the  Annunciation, 
Cantatas  were  sung  at  both  churches,  the  two 
choirs  singing  at  Vespers  in  the  second  church 
the  Cantata  performed  by  them  in  the  morning 
at  the  other  church.  On  these  occasions  the 
second  choir  was  conducted  by  a  Chorprafect. 

The  principal  Sunday  service  in  both  churches 
began  at  seven  in  the  morning,  ended  at  eleven, 
and  observed  the  following  order : 

1.  Organ  Prelude. 

2.  Motet,  related  to  the  Gospel  for  the  Day ; 

(omitted  in  Lent  and  replaced  by  the 
Benedictus). 

3.  Introit. 

4.  Kyrie,   sung   alternately,   in   German   and 

Latin. 

5.  The  Lord's  Prayer,  intoned  at  the  altar. 

6.  Gloria,  intoned  at  the  altar  and  answered 

either  by  the  Choir's  *  Et  in  terra  pax 
hominibus,'  or  by  the  congregation  with 
the  Hymn,  '  Allein  Gott  in  der  Hoh'  sei 
Ehr,'  the  German  version  of  the  Gloria. 

7.  Collect,  intoned  in  Latin  ;  preceded  by  the 

preces  '  Dominus  vobiscum '  and  '  Et  cum 
spiritu  tuo.' 

8.  Epistle. 

9.  Litany,  in  Advent  and  Lent  only ;  intoned 

by  four  boys,  the  Choir  responding. 


BACH  AT  LEIPZIG,  1723-1750          33 

10.  Hymn,  appropriate  to  the  Gospel. 

11.  Gospel. 

12.  Credo,  intoned ;  (in  Lent,  last  three  Sundays 

of  Advent,  and  Festivals  of  Apostles,  the 
Nicene  Creed,  sung  in  Latin). 

13.  Prelude,   followed   by   a   Cantata,   lasting 

about  twenty  minutes ;  on  alternate 
Sundays  in  each  church. 

14.  The  Creed  in  German,  '  Wir  glauben   all' 

an  einen  Gott,'  sung  by  the  congregation. 

15.  Sermon,  lasting  one  hour  (8-9  A.M.). 

16.  Hymn,    '  Herr   Jesu   Christ,    dich   zu   uns 

wend','  followed  by  the  reading  of  the 
Gospel,  on  which  the  Sermon  had  been 
based. 

17.  General    Confession,   prayers,    and    Lord's 

Prayer. 

18.  Blessing. 

19.  Hymn. 

20.  Communion   Service ;    Hymns   and   Organ 

extemporisation. 

21.  Benediction. 

Vespers  began  at  a  quarter  past  one  and  was  a 
comparatively  simple  service ;  the  music  con- 
sisted of  Hymns,  a  Motet,  and  the  Magnificat. 

On  the  last  three  Sundays  in  Advent  and 
throughout  Lent  neither  Cantatas  nor  Motets  were 
sung.  The  Organ  was  silent. 

On  the  three  great  Festivals  the  appointed 
Hymn  for  the  season  was  sung  at  the  beginning  of 
c 


34  JOHANN  SEBASTIAN  BACH 

the  principal  service,  before  the  Organ  Prelude  : 
at  Christmas,  '  Puer  natus  in  Bethlehem  '  ;  at 
Easter,  '  Heut'  triumphiret  Gottes  Sohn '  ;  at 
Whitsuntide,  '  Spiritus  Sancti  gratia.'  During  the 
Communion  service  the  Sanctus  and  concerted 
music  were  sung.  A  festal  hymn  followed  the 
Benediction.  The  three  great  Festivals  were  each 
observed  for  three  consecutive  days,  on  the  first 
and  second  of  which  Cantatas  were  sung  at  both 
churches.  On  the  third  day  concerted  music  was 
sung  at  only  one  of  the  two  churches. 

The  other  week-day  Festivals  for  which  Can- 
tatas were  provided  were  the  Feast  of  the  Circum- 
cision (New  Year's  Day),  Epiphany,  Ascension 
Day,  Purification  of  the  B.V.M.,  Annunciation  of 
the  B.V.M.,  Visitation  of  the  B.V.M.,  Feast  of  St. 
John  Baptist  (Midsummer  Day),  Feast  of  St. 
Michael  the  Archangel.  The  Reformation  Festival 
was  kept  on  October  31,  or  if  that  date  was  a 
Saturday  or  Monday,  on  the  previous  or  following 
Sunday. 

On  Good  Friday  the  Passion  was  performed  in 
the  two  principal  churches  alternately. 

Leipzig  adopted  no  official  Hymn-book.  The 
compilation  from  which  the  Hymns  were  chosen 
by  Bach  was  the  eight-volumed  '  Gesangbuch  ' 
of  Paul  Wagner,  published  at  Leipzig  for  Dresden 
use  in  1697.  It  contained  over  five  thousand 
Hymns  but  no  music,  merely  the  name  of  the 
tune  being  stated  above  the  Hymn.  For  the 


BACH  AT  LEIPZIG,  1723-1750          35 

most  part  the  Hymns  for  special,  and  even  for 
ordinary,  occasions  were  prescribed  by  custom. 
Otherwise  the  power  of  selection  was  in  the  hands 
of  the  Cantor,  and  Bach's  exercise  of  it  caused 
some  friction  with  the  clergy  in  1728. 

The  provision  and  direction  of  the  music  at 
weddings  and  funerals  was  in  the  Cantor's  hands. 
He  arranged  the  choirs  and  the  music  sung  at  the 
scholars'  annual  processions  and  perambulations 
of  the  town,  which  took  place  at  Michaelmas, 
New  Year,  and  on  St.  Martin's  and  St.  Gregory's 
Days. 

Augmenting  the  School's  choristers,  the  Town 
Musicians  took  part  in  the  Church  services  and 
were  under  the  Cantor's  direction.  Their  numbers 
and  efficiency  were  inadequate. 

Upon  the  staff  of  the  School  the  Cantor  ranked 
third  after  the  Rector  and  Sub-Rector,  and  took 
a  share  in  the  general  instruction  of  the  scholars. 
Class  III.  went  to  Bach  for  Latin  lessons,  a  duty 
which  the  Council  eventually  permitted  him  to 
fulfil  by  deputy.  Singing  classes  were  held  by 
the  Cantor  on  three  days  of  the  week,  Mondays, 
Tuesdays,  and  Wednesdays,  at  nine  and  noon,  and 
on  Fridays  at  noon.  His  instruction  in  singing 
was  given  to  the  four  upper  classes  only.  On 
Saturday  afternoons  the  Cantata  was  rehearsed. 
Once  hi  four  weeks  the  Cantor  took  his  turn  to 
inspect  the  scholars.  Like  the  other  masters, 
he  was  required  to  conform  to  the  regulations 


36  JOHANN  SEBASTIAN  BACH 

of  the  School  House,  in  which  he  lived.  He  rose 
at  five  in  summer,  at  six  in  winter,  dined  at  ten 
and  supped  at  five  in  the  afternoon. 

Holidays  were  numerous.  A  week's  vacation 
was  given  at  the  Easter,  Michaelmas,  and  New 
Year  Fairs.  At  Midsummer  the  School  had  a 
month  of  half-holidays.  Whole  holidays  were 
given  on  the  birthdays  of  the  four  upper  masters. 
There  were  no  morning  lessons  on  Saints'  Days, 
on  the  occasion  of  funeral  orations  in  the  University 
Church,  and  on  the  quarterly  Speech  Days. 
Hence,  though  Bach's  office  carried  large  respon- 
sibility, it  left  him  considerable  leisure  for  com- 
position. 

As  Cantor  Bach  had  an  official  residence  in  the 
left  wing  of  the  School  House.  In  1723,  the 
Cantor's  wing  was  of  two  storeys  only,  dwarfed 
by  the  greater  elevation  of  the  main  edifice  and 
under  the  shadow  of  the  church.  Bach  brought 
to  Leipzig  four  children  of  his  first  marriage, 
and  his  second  wife,  Anna  Magdalena,  presented 
him  with  a  son  or  daughter  annually  from  1723 
to  1729.  The  accommodation  of  the  Cantor's 
lodging  therefore  rapidly  became  inadequate.  In 
the  spring  of  1731  Bach  found  a  house  elsewhere 
while  an  additional  storey  was  added  to  it,  which 
provided  a  new  music-room,  a  good-sized  apart- 
ment whence  a  passage  led  to  the  big  schoolroom 
in  the  main  building.  The  new  wing  was  formally 
opened  and  dedicated  on  June  5,  1732,  when 


BACH  AT  LEIPZIG,  1723-1750          37 

Bach's  secular  Cantata  '  Froher  Tag,  verlangte 
Stunden '  was  performed  ;  the  libretto  being  by 
his  colleague  Winkler.  From  thenceforward  till 
his  death  eighteen  years  later  Bach's  occupancy 
was  not  disturbed.  The  wing  continued  to  be 
the  official  residence  of  the  Cantor  until  the  School 
moved  to  the  suburbs  of  the  city  in  1877. 

In  addition  to  his  residence,  which  he  occupied 
rent  free,  the  Cantor  enjoyed  a  revenue  from 
various  and  fluctuating  sources,  amounting  in 
gross  to  700  thalers  (=£106  per  annum).  His 
fixed  stipend  was  only  100  thalers  (=£15).  About 
12  thalers  came  to  him  from  endowments.  In 
kind  he  was  entitled  to  16  bushels  of  corn  and 
2  cords  of  firelogs,  together  with  2  measures  of 
wine  at  each  of  the  three  great  Festivals.  From 
the  University,  after  his  successful  protest,  he 
received  12  thalers  for  directing  the  '  old  service.' 
By  far  the  larger  part  of  Bach's  income  was 
derived  from  fluctuating  sources.  They  were 
of  three  kinds :  (1)  School  monies,  (2)  funeral 
fees,  (3)  wedding  fees.  The  School  monies  repre- 
sented perquisites  derived  from  funds  obtained 
by  the  scholars,  partly  by  their  weekly  collections 
from  the  public,  partly  from  the  four  annual 
processions  or  perambulations  of  the  city.  From  the 
weekly  collections  a  sum  of  six  pfennigs  multiplied 
by  the  number  of  the  scholars  was  put  aside  for 
the  four  upper  masters,  among  whom  the  Cantor 
ranked  third.  From  the  money  collected  at  the 


38  JOHANN  SEBASTIAN  BACH 

New  Year,  Michaelmas,  and  St.  Martin's  Day 
processions  the  Rector  took  a  thaler,  the  Cantor 
and  the  Sub-Rector  each  took  one-eleventh  of  the 
balance,  sixteen  thirty- thirds  went  to  the  singers, 
and  one-quarter  of  what  remained  fell  to  the 
Cantor.  Out  of  the  money  collected  on  St. 
Gregory's  Day  (March  12)  the  Rector  took  one- 
tenth  for  the  entertainment  of  the  four  upper 
masters,  and  the  Cantor  took  one-third  of  the 
residue.  For  funerals  one  thaler  15  groschen 
was  paid  when  the  whole  school  accompanied 
the  procession  and  a  Motet  was  sung  at  the  house 
of  the  deceased.  When  no  Motet  was  sung  the 
Cantor's  fee  was  15  groschen.  For  weddings  he 
received  two  thalers. 

Reckoned  in  modern  currency,  and  judged  by 
the  standard  of  the  period,  the  Cantor's  income 
was  not  inadequate  and  served  to  maintain 
Bach's  large  family  hi  comfort.  When  he  died 
in  1750,  in  addition  to  a  mining  share  valued  at 
60  thalers,  he  possessed  in  cash  or  bonds  about 
360  thalers,  silver  plate  valued  at  251  thalers, 
instruments  valued  at  371  thalers,  house  furniture 
valued  at  29  thalers,  and  books  valued  at  38 
thalers.  His  whole  estate  was  declared  at  1158 
thalers,  or  somewhat  less  than  the  savings  of  two 
years'  income.  But  for  the  inequitable  distribu- 
tion of  his  property,  owing  to  his  intestacy,  which 
left  Anna  Magdalena  only  about  400  thalers  and 
the  mining  share,  Bach's  widow  and  unmarried 


BACH  AT  LEIPZIG,  1723-1750          39 

daughters  ought  not  to  have  been  afflicted  with 
excessive  poverty,  as  in  fact  they  were. 

At  the  beginning  of  his  Cantorate  Bach  worked 
amid  discouraging  and  unsatisfactory  conditions. 
The  Rector,  Johann  Heinrich  Ernesti,  was  over 
seventy  years  of  age  in  1723.  The  School  was 
badly  managed,  its  discipline  was  relaxed,  the 
better-to-do  citizens  withheld  their  sons  from  it, 
and  its  numbers  were  seriously  diminished.  In 
1717  the  junior  classes  contained  only  53  as 
against  120  in  Ernesti' s  earlier  years.  The 
proximity  and  operatic  traditions  of  Dresden 
and  Weissenfels  also  had  a  bad  effect ;  the  St. 
Thomas'  boys,  after  attaining  musical  proficiency, 
were  apt  to  become  restless,  demanding  release 
from  their  indentures,  and  even  running  away  to 
more  attractive  and  lucrative  occupations.  More- 
over, the  governors  of  the  School  were  the  Town 
Council,  a  body  which  had  little  sympathy  with 
or  appreciation  of  Bach's  artistic  aims  and  tem- 
perament. To  these  difficulties  must  be  added 
another.  The  Town  Musicians,  on  whom  Bach 
relied  for  the  nucleus  of  his  orchestra,  were  few 
in  number  and  inefficient. 

So  long  as  Ernesti  lived,  there  was  little  prospect 
of  reform.  But,  after  his  death,  in  October  1729, 
Bach  made  vigorous  representations  to  the  Town 
Council.  Already  he  had  remonstrated  with  the 
Council  for  presenting  to  foundation  scholarships 
boys  who  lacked  musical  aptitude.  The  Council 


40  JOHANN  SEBASTIAN  BACH 

retaliated  by  accusing  Bach  of  neglecting  his 
singing  classes,  absenting  himself  without  leave, 
and  of  other  irregularities.  He  was  declared  to 
be  '  incorrigible  '  and  it  was  resolved  (August  2, 
1730)  to  sequestrate  the  Cantor's  income,  in 
other  words,  to  withhold  from  him  the  perquisites 
to  which  he  was  entitled  for  the  conduct  of  the 
Church  services.1 

Bach  was  not  deterred  from  offering,  three 
weeks  later  (August  23,  1730),  a  'sketch  of  what 
constitutes  well-appointed  Church  music,  with  a 
few  impartial  reflections  on  its  present  state  of 
decay '  in  Leipzig.  The  document  reveals  the 
conditions  amid  which  Bach  worked.  Its  repre- 
sentations may  be  summarised : 

The  foundation  scholars  of  St.  Thomas'  are  of 
four  classes  :  Trebles,  Altos,  Tenors,  Basses. 

A  choir  needs  from  four  to  eight  '  concertists ' 
(solo  singers)  and  at  least  two  '  ripienists  '  to  each 
chorus  part,  i.e.  a  minimum  of  twelve  voices. 

The  foundation  scholars  number  fifty-five,  by 
whom  the  choirs  of  the  four  Churches,  St.  Thomas', 
St.  Nicolas',  St.  Peter's,  and  the  New  Church  are 
provided. 

For  the  instrumental  accompaniments  at  least 
twenty  players  are  required :  viz.,  2  or  3  first 
Violins,  2  or  3  second  Violins,  4  Violas,  2  Violon- 
celli,  1  Contrabasso,  2  or  more  Flutes,  2  or  3  Oboi, 

1  In  view  of  Bach's  memorial  of  August  23, 1730  (infra),  this 
to  be  the  meaning  of  the  resolution. 


BACH  AT  LEIPZIG,  1723-1750          41 

1  or  2  Fagotti,  3  Trombe,  1  Timpani.  To  fill 
these  places  there  are  eight  Town  Musicians,  and 
at  the  moment  there  are  no  players  available  for 
third  Tromba,  Timpani,  Viola,  Violoncello,  Contra- 
basso,  third  Oboe  (or  Taille). 

To  augment  the  Town  Musicians  the  Cantor  has 
been  wont  in  the  past  to  employ  University 
students  and  instrumental  players  in  the  School. 
Upon  the  former  '  at  all  times  '  he  relies  for  Viola, 
Violoncello,  and  Contrabasso,  and  *  generally  '  for 
the  second  Violins.  But  the  Council,  by  its  recent 
resolution,  no  longer  affords  the  Cantor  the  means 
to  employ  them.  To  place  the  scholars  hi  the 
orchestra  weakens  the  choir,  to  which  they  natur- 
ally belong. 

By  presenting  to  foundation  scholarships  boys 
unskilled  and  ignorant  of  music,  the  resources  at 
the  Cantor's  disposal  are  still  farther  lessened. 

Hence,  Bach  concludes,  '  in  ceasing  to  receive 
my  perquisites  I  am  deprived  of  the  power  of 
putting  the  music  into  a  better  condition.' 

No  answer  was  made  to  Bach's  memorial,  and 
he  contemplated  resigning  his  position.  But  with 
the  advent  of  Johann  Matthias  Gesner  as  Rector 
in  September  1730  a  happier  period  dawned  upon 
the  'incorrigible'  Cantor.  In  1732  Gesner  pro- 
cured the  withdrawal  of  the  Council's  ban  on 
Bach's  perquisites.  The  fallen  fortunes  of  the 
School  revived,  and  Bach  did  not  again  make  an 
effort  to  leave  Leipzig.  In  1736  the  grant  of  the 


42  JOHANN  SEBASTIAN  BACH 

post  of  Hof-Componist  to  the  Saxon  Court  gave 
him  at  length  a  title  which  compelled  the  defer- 
ence of  his  civic  masters. 

Bach's  early  misunderstanding  with  the  Uni- 
versity cut  him  off  from  association  with  the  most 
dignified,  if  not  the  most  important,  institution 
in  Leipzig,  and  deprived  him  of  opportunity  to 
display  his  genius  beyond  the  radius  of  his  Church 
duties.  The  situation  changed  in  1729,  when  he 
became  director  of  the  University  Society,  and  he 
held  the  post  for  about  ten  years.  The  Society 
gave  weekly  concerts  on  Fridays,  from  8  to  10, 
and  an  extra  concert,  during  the  Fair  season,  on 
Thursdays  at  the  same  hour.  It  performed  vocal 
and  instrumental  music  and  was  the  medium 
through  which  Bach  presented  his  secular  Can- 
tatas, Clavier  and  Violin  Concertos,  and  Orchestral 
Suites  to  the  public.  The  proficiency  of  his  elder 
sons  and  pupils,  and  his  wife's  talent  as  a  singer, 
were  a  farther  source  of  strength  to  the  Society, 
whose  direction  undoubtedly  made  these  years  the 
happiest  in  Bach's  life.  He  took  his  rightful  place 
in  the  musical  life  of  the  city,  and  relegated  to  a 
position  of  inferiority  the  smaller  fry,  such  as 
Corner,  who  had  presumed  on  Bach's  aloofness 
from  the  University  and  Municipality  to  insinuate 
themselves.  His  increasing  reputation  as  an 
organist,  gained  in  his  annual  autumn  tours,  also 
enlightened  his  fellow-townsmen  regarding  the 
superlative  worth  of  one  whom  at  the  outset 


BACH  AT  LEIPZIG,  1723-1750          43 

they  were  disposed  to  treat  as  a  subordinate 
official. 

The  Leipzig  of  Bach's  day  offered  various  oppor- 
tunities for  musical  celebration  ;  official  events  in 
the  University,  '  gratulations  '  or  '  ovations  '  of 
favourite  professors  by  their  students,  as  well  as 
patriotic  occasions  in  which  town  and  gown  par- 
ticipated. The  recognised  fee  for  pieces  d?  occasion 
of  a  public  character  was  fifty  thalers.  Bach's 
conductorship  of  the  University  Society  enabled 
him  to  perform  festival  works  with  the  resources 
they  required,  and  to  augment  the  band  and 
chorus  needed  for  their  adequate  performance. 

Even  before  he  undertook  the  direction  of  the 
University  Society,  Bach  more  than  once  pro- 
vided the  music  for  University  celebrations.  On 
August  3,  1725,  his  secular  Cantata,  'Der  zufried- 
engestellte  Aeolus,'  was  performed  at  the  students' 
celebration  of  Doctor  August  Friedrich  Miiller's 
name-day.  In  1726  he  revived  an  old  Cantata1 
to  celebrate  the  birthday  of  another  of  the  Leipzig 
teachers.  In  the  same  year  the  appointment  of 
Dr.  Gottlieb  Kortte  as  Professor  of  Roman  Law 
was  celebrated  by  Bach's  Cantata  '  Vereinigte 
Zwietracht  der  wechselnden  Saiten.'  In  1733  the 
birthday  of  another  Professor  was  marked  by  the 
performance  of  the  Cothen  Cantata  to  yet  another 
text  ('  Die  Freude  reget  sich ').  On  November  21, 

1  « Steigt  freudig  in  die  Luft,'  first  performed  at  Cothen,  set  to  a 
new  text,  '  Schwingt  freudig  euch  empor.' 


44  JOHANN  SEBASTIAN  BACH 

1734,  the  lost  Cantata  'Thomana  sass  annoch 
betriibt'  was  sung  at  the  induction  of  Gesner's 
successor,  Johann  August  Ernesti,  as  Rector  of 
St.  Thomas'  School. 

But  Bach's  activity  as  a  secular  composer  at 
Leipzig  was  chiefly  expended  on  patriotic  celebra- 
tions. His  compositions  of  this  character  are 
particularly  numerous  during  the  years  1733-36, 
while  he  was  seeking  from  the  Dresden  Court  the 
post  of  Hof-Componist.  The  first  of  these  cele- 
brations took  place  on  May  12,  1727,  the  birth- 
day of  Augustus  n.  of  Poland- Saxony,  when 
Bach's  Cantata,  '  Entfernet  euch,  ihr  heitern 
Sterne,'  was  performed  in  the  Market  Place  by 
the  University  Society.  The  King  was  present 
and  listened  to  the  performance  from  a  convenient 
window.  The  music  is  lost.  Six  years  elapsed 
before  Bach  was  invited  to  collaborate  in 
another  celebration  of  the  royal  House.  On 
September  5,  1733,  less  than  two  months  after  his 
application  for  the  post  of  Hof-Componist,  the 
University  Society  celebrated  the  eleventh  birth- 
day of  the  Electoral  Prince  by  performing  Bach's 
dramma  per  musica,  '  Die  Wahl  des  Herkules,'  or 
'  Herkules  auf  dem  Scheidewege.'  Barely  three 
months  later,  on  December  8,  1733,  Bach  pro- 
duced another  Cantata  in  honour  of  the  royal 
family,  *  Tonet,  ihr  Pauken,  erschallet  Trompeten,' 
of  which  he  was  both  author  and  composer.  On 
no  less  than  three  occasions  in  1734  Bach  did 


BACH  AT  LEIPZIG,  1723-1750          45 

homage  to  his  unheeding  sovereign.  In  January 
the  University  Society,  under  Bach's  direction, 
performed  his  Cantata  '  Blast  Larmen,  ihr  Feinde ' 
to  celebrate  the  coronation  of  Augustus  m.  The 
music  had  already  done  duty  in  Dr.  Muller's 
honour  in  1725.  On  the  following  October  5, 
1734,  when  the  King  visited  Leipzig,  Bach's 
hurriedly  written  Cantata,  '  Preise  dein  Gliicke, 
gesegnetes  Sachsen,'  whose  first  chorus  became  the 
'  Osanna '  of  the  B  minor  Mass,  was  performed  hi 
the  Market  Place.  Two  days  later,  on  October  7, 
1734,  the  King's  birthday  was  celebrated  by 
another  Bach  Cantata,  '  Schleicht  spielende 
Wellen,'  performed  by  the  Collegium  Musicum. 
In  1738,  having  received  the  coveted  title  of  Hof- 
Componist  in  the  interval  (1736),  Bach  performed 
a  work — '  Willkommen,  ihr  herrschenden  Gotter 
der  Erden ' — now  lost,  in  honour  of  the  marriage 
of  the  Princess  Maria  Amalia  of  Saxony  to  Charles 
of  Sicily,  afterwards  Charles  m.  of  Spam. 

Apart  from  his  musical  activities  and  the  house 
in  which  he  lived  there  is  little  that  permits  us 
to  picture  Bach's  life  at  Leipzig.  Association 
with  his  friends  Johann  Christian  Hoffmann, 
Musical  Instrument  Maker  to  the  Court,  Marianne 
von  Ziegler,  J.  C.  Gottsched  and  his  musical  wife, 
Johann  Abraham  Birnbaum,  among  the  Pro- 
fessoriate, Picander  and  Christian  Weiss,  Bach's 
regular  librettists,  suggests  the  amenities  of  an 
academic  and  literary  circle.  But  the  claims  of 


46  JOHANN  SEBASTIAN  BACH 

his  art  and  the  care  of  his  large  family  had  the 
first  call  upon  Bach's  interest.  And  few  men  had 
a  happier  home  life.  While  his  elder  sons  were 
at  home  the  family  concerts  were  among  his  most 
agreeable  experiences.  As  his  fame  increased, 
his  house  became  the  resort  of  many  seeking  to 
know  and  hear  the  famous  organist.  Late  in  the 
thirties  he  resigned  his  directorship  of  the  Uni- 
versity Society.  His  sons  were  already  off  his 
hands  and  out  of  his  house,  and  he  turned  again 
to  the  Organ  works  of  his  Weimar  period.  Their 
revision  occupied  the  last  decade  of  his  life,  and  the 
hitherto  constant  flow  of  Church  Cantatas  ceased. 
Pupils  resorted  to  him  and  filled  his  empty  house, 
to  one  of  whom,  Altnikol,  he  gave  a  daughter  in 
marriage.'  ^ 

A  man  of  rigid  uprightness,  sincerely  religious ; 
steeped  in  his  art,  earnest  and  grave,  yet  not 
lacking  naive  humour ;  ever  hospitable  and 
generous,  and  yet  shrewd  and  cautious ;  pug- 
nacious when  his  art  was  slighted  or  his  rights 
were  infringed ;  generous  in  the  extreme  to  his 
wife  and  children,  and  eager  to  give  the  latter 
advantages  which  he  had  never  known  himself  ; 
a  lover  of  sound  theology,  and  of  a  piety  as  deep 
as  it  was  unpretentious — such  were  the  qualities 
of  one  who  towers  above  all  other  masters  of  music 
in  moral  grandeur. 

Four,  perhaps  only  three,  contemporary 
portraits  of  Bach  are  known.  One  is  in  the 


BACH  AT  LEIPZIG,  1723-1750          47 

possession  of  the  firm  of  Peters  at  Leipzig  and 
once  belonged  to  Carl  Philipp  Emmanuel's 
daughter,  who  with  inherited  impiety  sold  it  to 
a  Leipzig  flute  player.  The  second  hung  in 
St.  Thomas'  School  and  is  reproduced  at  p.  48 
of  this  volume.  It  was  painted  in  1746  and 
restored  in  1913.  Both  portraits  are  by  Elias 
Gottlieb  Haussmann,  Court  Painter  at  Dresden. 
The  third  portrait  belonged  to  Bach's  last  pupil, 
Kittel,  and  used  to  hang  on  the  Organ  at  Erfurt, 
whence  it  disappeared  after  1809,  during  the 
Napoleonic  wars.  Recently  Professor  Fritz 
Volbach  of  Mainz  has  discovered  a  fourth  portrait, 
which  is  printed  at  p.  92  of  the  present  volume. 
He  supposes  it  to  be  none  other  than  the  Erfurt 
portrait,  as  indeed  it  well  may  be,  since  it  repre- 
sents a  man  of  some  sixty  years,  austere  in 
countenance,  but  of  a  dignity  that  is  not  so 
apparent  in  Haussmann's  portraiture.1 

Bach  left  no  will.  In  consequence  his  widow, 
Anna  Magdalena,  burdened  with  the  charge  of 
a  step-daughter  and  two  daughters,  was  entitled 
to  only  one-third  of  her  husband's  estate.  Neither 

1  The  well-known  portrait  by  C.  F.  Rr.  Liszewski  in  the  Joachimsthal 
Gymnasium,  Berlin,  was  painted  in  1772,  twenty-two  years  after 
Bach's  death.  It  represents  him  at  a  table  with  music-paper  before 
him  and  an  adjacent  Clavier.  Pirro  uses  for  his  frontispiece  a  portrait 
by  Geber,  which  bears  no  resemblance  whatever  to  the  Haussmann  or 
Volbach  pictures.  Mention  must  also  be  made  of  a  singularly  engaging 
picture  of  Bach  at  the  age  of  thirty-five.  It  hangs  in  the  Eisenach 
Bach  Museum  and  is  by  Johann  Jak.  Ihle.  It  is  reproduced  as  the 
frontispiece  of  this  volume. 


48  JOHANN  SEBASTIAN  BACH 

Carl  Philipp  Emmanuel  nor  Wilhelm  Friede- 
mann  was  her  own  child.  But  the  fact  cannot 
excuse  gross  neglect  of  their  father's  widow. 
Her  own  sons  were  in  a  position  to  make  such  a 
contribution  to  her  income  as  would  at  least  have 
kept  want  from  her  door.  In  fact  she  was  per- 
mitted to  become  dependent  on  public  charity, 
and  died,  an  alms-woman,  on  February  27,  1760, 
nearly  ten  years  after  her  great  husband.  The 
three  daughters  survived  her.  One  died  in  1774, 
the  second  in  1781.  The  third,  Regine  Susanna, 
survived  them,  her  want  relieved  by  gifts  from 
a  public  that  at  last  was  awakening  to  the 
grandeur  of  her  father.  Beethoven  contributed 
generously.  Regine  Susanna  died  in  December 
1809,  the  last  of  Bach's  children.  In  1845  her 
nephew,  Johann  Christoph  Friedrich's  son,  also 
died.  With  him  the  line  of  Johann  Sebastian 
Bach  expired. 


JOHAXN   SEBASTIAN   BACH. 

c  ire.      1 746. 
From  the  picture  by  Haussmann. ) 


CHAPTER  III 

BACH   AS   A   CLAVIER  PLAYER 

As  a  Clavier  player  Bach  was  admired  by  all  who 
had  the  good  fortune  to  hear  him  and  was  the 
envy  of  the  virtuosi  of  his  day.  His  method 
greatly  differed  from  that  of  his  contemporaries 
and  predecessors,  but  so  far  no  one  has  attempted 
to  explain  in  what  the  difference  consisted. 

The  same  piece  of  music  played  by  ten  dif- 
ferent performers  equally  intelligent  and  com- 
petent will  produce  a  different  effect  in  each 
case.  Each  player  will  emphasise  this  or  that 
detail.  This  or  that  note  will  stand  out  with 
differing  emphasis,  and  the  general  effect  will 
vary  consequently.  And  yet,  if  all  the  players 
are  equally  competent,  ought  not  their  per- 
formances to  be  uniform  ?  The  fact  that  they 
are  not  so  is  due  to  difference  of  touch,  a  quality 
which  to  the  Clavier  stands  as  enunciation  to 
human  speech.  Distinctness  is  essential  for  the 
enunciation  of  vowels  and  consonants,  and  not  less 
so  for  the  articulation  of  a  musical  phrase.  But 
there  are  gradations  of  distinctness.  If  a  sound 
is  emitted  indistinctly  it  is  comprehensible  only 


50  JOHANN  SEBASTIAN  BACH 

with  effort,  which  occasions  us  to  lose  much  of 
the  pleasure  we  should  otherwise  experience. 
On  the  other  hand,  over-emphasis  of  words  or 
notes  is  to  be  avoided.  Otherwise  the  hearer's 
attention  will  be  diverted  from  the  tout  ensemble. 
To  permit  the  general  effect  to  be  appreciated 
every  note  and  every  vowel  must  be  sounded 
with  balanced  distinctness. 

I  have  often  wondered  why  Carl  Philipp 
Emmanuel  Bach's  '  Essay  on  the  Right  Manner 
of  playing  the  Clavier '  1  does  not  elucidate  the 
qualities  that  constitute  a  good  touch.  For  he 
possessed  in  high  degree  the  technique  that  made 
his  father  pre-eminent  as  a  player.  True,  in  his 
chapter  on  '  Style  in  Performance,'  he  writes, 
'  Some  persons  play  as  if  their  fingers  were  glued 
together  ;  their  touch  is  so  deliberate,  and  they 
keep  the  keys  down  too  long ;  while  others, 
attempting  to  avoid  this  defect,  play  too  crisply, 
as  if  the  keys  burnt  then:  fingers.  The  right 
method  lies  between  the  two  extremes.'  But 
it  would  have  been  more  useful  had  he  told  us 
how  to  reach  this  middle  path.  As  he  has  not 
done  so,  I  must  try  to  make  the  matter  as  clear 
as  is  possible  in  words. 

Bach  placed  his  hand  on  the  finger-board  so 
that  his  fingers  were  bent  and  their  extremities 
poised  perpendicularly  over  the  keys  in  a  plane 

1  His  '  Versuch  fiber  die  wahre  Art  das  Klavier  zu  spielen '  was 
published  (Part  I.)  in  1753. 


BACH  AS  A  CLAVIER  PLAYER        51 

parallel  to  them.1  Consequently  none  of  his 
fingers  was  remote  from  the  note  it  was  intended  to 
strike,  and  was  ready  instantly  to  execute  every 
command.  Observe  the  consequences  of  this 
position.  First  of  all,  the  fingers  cannot  fall 
or  (as  so  often  happens)  be  thrown  upon  the  notes, 
but  are  'placed  upon  them  in  full  control  of  the 
force  they  may  be  called  on  to  exert.  In  the 
second  place,  since  the  force  communicated  to  the 
note  needs  to  be  maintained  with  uniform  pressure, 
the  finger  should  not  be  released  perpendicularly 
from  the  key,  but  can  be  withdrawn  gently  and 
gradually  towards  the  palm  of  the  hand.  In 
the  third  place,  when  passing  from  one  note 
to  another,  a  sliding  action  instinctively  instructs 
the  next  finger  regarding  the  amount  of  force 
exerted  by  its  predecessor,  so  that  the  tone  is 
equally  regulated  and  the  notes  are  equally 
distinct.  In  other  words,  the  touch  is  neither 
too  long  nor  too  short,  as  Carl  Philipp  Emmanuel 
complains,  but  is  just  what  it  ought  to 
be.2 

Many  advantages  arise  from  holding  the  hand 
hi  Bach's  position  and  from  adopting  his  touch, 

1  ForkeFs  meaning  can  be  made  clear  in  the  following  manner: 
place  the  thumb  and  fingers  of  either  hand  upon  the  notes  C  D  E  F  G 
of  the  pianoforte  so  that  the  three  middle  fingers  lie  more  or  less  flat 
upon  the  keys ;  then  draw  back  the  three  middle  fingers  until  they 
form  an  arch  having  their  tips  approximately  in  a  straight  line  with 
the  tips  of  the  thumb  and  little  finger  upon  the  keys. 

8  It  must  be  remembered  that  Forkel  is  speaking  of  the  Clavier 
and  not  of  the  Pianoforte. 


52  JOHANN  SEBASTIAN  BACH 

on  the  Clavichord  and  Harpsichord,1  and  on 
the  Organ  as  well.  I  point  out  merely  the  most 
important  of  them.  To  begin  with,  if  the  fingers 
are  bent,  their  movements  are  free.  The  notes 
are  struck  without  effort  and  with  less  risk  of 
missing  or  hitting  too  hard,  a  frequent  fault  with 
people  who  play  with  their  fingers  elongated  or 
insufficiently  bent.  In  the  second  place,  the 
sliding  finger-tip,  and  the  consequently  rapid 
transmission  of  regulated  force  from  one  finger  to 
another,  tend  to  bring  out  each  note  clearly  and 
to  make  every  passage  sound  uniformly  brilliant 
and  distinct  to  the  hearer  without  exertion.  In 
the  third  place,  stroking  the  note  with  uniform 
pressure  permits  the  string  to  vibrate  freely,  im- 
proves and  prolongs  the  tone,  and  though  the 
Clavichord  is  poor  in  quality,  allows  the  player 
to  sustain  long  notes  upon  it.  And  the  method 
has  this  advantage  :  it  prevents  over-expenditure 
of  strength  and  excessive  movement  of  the  hand. 
We  gather  that  the  action  of  Bach's  fingers  was 
so  slight  as  to  be  barely  perceptible.  Only  the 
top  joint  seemed  to  move.  His  hand  preserved 
its  rounded  shape  even  in  the  most  intricate 
passages.  His  fingers  rested  closely  upon  the 
keys,  very  much  in  the  position  required  for  a 
'  shake.'  An  unemployed  finger  remained  in  a 

1  The  Harpsichord,  as  its  name  implies,  was  an  instrument  whose 
strings  were  plucked  by  a  plectrum.  Bach  preferred  the  older  Clavier, 
or  Clavichord,  which  could  be  regulated,  as  the  other  could  not,  by 
nicety  of  touch.  See  note,  p.  58,  infra. 


BACH  AS  A  CLAVIER  PLAYER        53 

position  of  repose.  It  is  hardly  necessary  to  say 
that  other  limbs  of  his  body  took  no  part  in  his 
performance,  as  is  the  case  with  many  whose 
hands  lack  the  requisite  agility.1 

A  man  may  possess  all  these  qualities,  however, 
and  remain  an  indifferent  performer  on  the 
Clavier,  just  as  clear  and  agreeable  enunciation 
does  not  necessarily  make  a  good  speaker.  To  be 
a  first-rate  performer  many  other  qualities  are 
needed,  and  Bach  possessed  them  all  in  a  notable 
degree. 

Some  fingers  are  longer  and  stronger  than  others. 
Hence  players  are  frequently  seduced  to  use  the 
stronger  whenever  they  can  readily  do  so.  Conse- 
quently successive  notes  become  unequal  in  tone, 
and  passages  which  leave  no  choice  as  to  the  finger 
to  be  used  may  become  impossible  to  play.  Bach 
recognised  this  fact  very  early  in  his  career.  To 
get  over  the  difficulty  he  invented  exercises  for 
his  own  use  in  which  the  fingers  of  both  hands 
were  made  to  practise  passages  in  every  con- 
ceivable position.  By  this  means  every  finger  on 
both  hands  equally  became  strong  and  service- 

1  Schweitzer  (i.  208)  points  out  that  Bach's  touch  was  modern,  in 
that  he  realised  that '  singing  tone  '  depends  not  only  upon  the  manner 
in  which  the  keys  are  struck,  but,  to  a  great  extent,  on  the  regulation 
of  their  ascent. 

Of  Handel's  touch,  Burney  writes  (quoted  by  Rockstro,  p.  349) : 
'  His  touch  was  so  smooth,  and  the  tone  of  the  instrument  so  much 
cherished,  that  his  fingers  seemed  to  grow  to  the  keys.  They  were 
so  curved  and  compact  when  he  played,  that  no  motion,  and  scarcely 
the  fingers  themselves,  could  be  discovered.' 


54  JOHANN  SEBASTIAN  BACH 

able,  so  that  he  could  play  a  rapid  succession  of 
chords,  single  and  double  '  shakes,'  and  running 
passages  with  the  utmost  finish  and  delicacy,  and 
was  equally  fluent  in  passages  where  some  fingers 
play  a  '  shake  '  while  the  others  on  the  same  hand 
continue  the  melody. 

Besides  these  improvements,  Bach  invented  a 
new  system  of  fingering.1  Before  his  time,  and 
even  in  his  early  years,  it  was  usual  for  the  player 
to  pay  attention  to  harmony  rather  than  counter- 
point. Even  so  it  was  not  customary  to  use 
every  one  of  the  twenty-four  major  and  minor 
keys.  The  Clavichord  was  still  what  we  term 
'  gebunden  '  ;  that  is,  several  keys  struck  the 
same  string,  which,  therefore,  could  not  be 
accurately  tuned.2  Consequently  it  was  usual  to 
employ  only  those  keys  whose  notes  were  tuned 
with  some  approximation  to  accuracy.  Again, 

1  At  the  beginning  of  the  seventeenth  century,  as  Spitta  points  out 
(ii.  34),  the  art  of  fingering  had  not  developed.     Speaking  generally, 
neither  thumb  nor  little  finger  was  employed.     It  was  not  until  the 
beginning  of  the  eighteenth  century  that  a  scientific  method  emerged, 
a  development  rendered  necessary  by  the  advance  in  the  modes  of 
musical  expression.     C.  P.  E.  Bach,  quoted  by  Schweitzer  (i.  206), 
puts  this  concisely  :    '  My  late  father  told  me  that  in  his  youth  he  had 
heard  great  men  who  never  used  the  thumb  except  when  it  was  neces- 
sary to  make  big  stretches.     But  he  lived  in  an  epoch  when  there 
came  about  gradually  a  most  remarkable  change  in  musical  taste, 
and  therefore  found  it  necessary  to  work  out  for  himself  a  much  more 
thorough  use  of  the  fingers,  and  especially  of  the  thumb,  which,  besides 
performing  other  good  services,  is  quite  indispensable  in  the  difficult 
keys,  where  it  must  be  used  as  nature  intends.' 

2  According  to   Mr.  Arnold  Dolmetsch,  Clavichords  with   special 
strings  for  each  note  (bundfrei)  were  known  in  Bach's  time. 


BACH  AS  A  CLAVIER  PLAYER        55 

good  players  in  those  days  hardly  ever  used  the 
thumb,  except  when  a  large  interval  had  to  be 
stretched.  But  when  Bach  began  to  melodise 
harmony  so  that  his  middle  parts  not  merely 
filled  in  but  had  a  tune  of  their  own,  when, 
too,  he  began  to  deviate  from  the  Church  modes 
then  in  general  vogue  in  secular  music,  using  the 
diatonic  and  chromatic  scales  indifferently,  and 
tuning  the  Clavier  in  all  the  twenty-four  keys,  he 
found  himself  compelled  to  introduce  a  system  of 
fingering  better  adapted  to  his  innovations  than 
that  in  use,  and  in  particular,  to  challenge  the 
convention  which  condemned  the  thumb  to  in- 
activity. It  is  held  by  some  writers  that  Couperin 
forestalled  Bach's  method  of  fingering,  in  his 
4  L'Art  de  toucher  le  Clavecin,'  published  in 
1716.  But  that  is  not  the  case.  In  the  first 
place,  Bach  was  above  thirty  years  old  in  1716, 
and  had  already  developed  a  distinctive  method 
of  his  own.  And  in  the  second  place,  Couperin's 
system  differs  materially  from  Bach's,  though  both 
made  more  frequent  use  of  the  thumb  than  was 
so  far  customary.  When  I  say  '  more  frequent 
use '  I  do  so  advisedly  ;  for  whereas  in  Bach's 
system  the  thumb  is  the  principal  finger — for  the 
difficult  keys,  as  they  are  called,  are  unplayable 
without  it — it  is  not  equally  indispensable  with 
Couperin,  whose  thematic  material  was  not  so 
intricate  as  Bach's,  nor  did  he  compose  or  play 
in  such  difficult  keys.  Consequently  Couperin 


56  JOHANN  SEBASTIAN  BACH 

had  not  an  equally  urgent  need  to  use  the  thumb. 
We  need  only  compare  Couperin's  with  Bach's 
system  of  fingering,  as  Carl  Philipp  Emmanuel 
explains  it,1  to  discover  that  Bach's  permits  every 
passage,  however  intricate  and  polyphonic,  to  be 
played  with  ease,  whereas  Couperin's  is  hardly 
effective  even  for  his  own  compositions.  Bach 
was  acquainted  with  Couperin's  works  and  highly 
esteemed  them,2  as  he  did  those  of  other  French 
Clavier  composers,  for  their  finish  and  brilliance. 
But  he  considered  them  affected  in  their  excessive 
use  of  ornaments,  scarcely  a  single  note  being  free 
from  them.  He  held  them,  also,  superficial  in 
matter. 

Bach's  easy,  unconstrained  use  of  the  fingers, 
his  musical  touch,  the  clearness  and  precision  of 
every  note  he  struck,  the  resourcefulness  of  his 
fingering,  his  thorough  training  of  every  finger 
of  both  hands,  the  luxuriance  of  his  thematic 
material  and  his  original  method  of  stating  it,  all 
contributed  to  give  him  almost  unlimited  power 
over  his  instrument,  so  easily  did  he  surmount 
the  difficulties  of  its  keyboard.  Whether  he  im- 
provised or  played  his  compositions  from  notes, 
he  systematically  employed  every  finger  of  each 
hand,  and  his  fingering  was  as  uncommon  as  the 
compositions  themselves,  yet  so  accurate  that  he 

1  In  the  '  Essay  '  already  referred  to.     For  a  discussion  of  Couperin's 
method  see  Spitta,  ii.  37  ff. 

2  For  instance,  the  Rondeau  in  B  flat  in  Anna  Magdalena's  '  Noten- 
buch  '  (No.  6)  (1725)  is  by  Couperin. 


BACH  AS  A  CLAVIER  PLAYER        57 

never  missed  a  note.  Moreover,  he  read  at  sight 
other  people's  compositions  (which,  to  be  sure, 
were  much  easier  than  his  own)  with  the  utmost 
facility.  Indeed,  he  once  boasted  to  a  friend  at 
Weimar  that  he  could  play  at  sight  and  without  a 
mistake  anything  put  before  him.  But  he  was 
mistaken,  as  his  friend  convinced  him  before  the 
week  was  out.  Having  invited  Bach  to  breakfast 
one  morning,  he  placed  on  the  Clavier,  among 
other  music,  a  piece  which,  at  a  first  glance,  seemed 
perfectly  easy.  On  his  arrival,  Bach,  as  was  his 
custom,  sat  down  at  the  Clavier  to  play  or  look 
through  the  music.  Meanwhile  his  friend  was  in 
the  next  room  preparing  breakfast.  In  a  short 
time  Bach  took  up  the  piece  of  music  destined  to 
change  his  opinion  and  began  to  play  it.  He  had 
not  proceeded  far  before  he  came  to  a  passage  at 
which  he  stopped.  After  a  look  at  it  he  began 
again,  only  to  stop  at  the  same  place.  '  No,'  he 
called  out  to  his  friend,  who  was  laughing  heartily 
in  the  next  room,  '  the  man  does  not  exist  who 
can  play  everything  at  sight.  It  can't  be  done.' 
With  that  he  got  up  from  the  Clavier  in  some 
annoyance.1 

Bach  also  could  read  scores  with  remarkable 
facility  and  play  them  on  the  Clavier.  He 
found  no  more  difficulty  in  piecing  together  the 

1  No  doubt  the  friend  who  prepared  this  trap  for  Bach  was  Johann 
Gottfried  Walther.  His  compositions  frequently  were  characterised 
by  intricacy. 


58  JOHANN  SEBASTIAN  BACH 

separate  parts  when  laid  side  by  side  before  him.1 
He  often  did  so  when  a  friend  brought  him  a  new 
Trio  or  Quartet  for  Strings  and  wished  to  hear 
how  it  sounded.  If  a  Continue  part,  however 
badly  figured,  was  put  before  him  he  could  im- 
provise a  Trio  or  Quartet  upon  it.  Nay,  when 
he  was  in  the  mood  and  at  the  height  of  his 
powers,  he  would  convert  a  Trio  into  a  Quartet 
by  extemporising  a  fourth  part.  On  such  occasions 
he  used  a  Harpsichord  with  two  manuals  and 
pedal  attachment. 

Bach  preferred  the  Clavichord  to  the  Harpsi- 
chord, which,  though  susceptible  of  great  variety 
of  tone,  seemed  to  him  lacking  in  soul.  The 
Pianoforte  was  still  in  its  infancy  and  too  coarse.2 

1  Mozart  had  the  same  gift.      When  visiting  St.  Thomas'  School 
in  1789,  he  heard  with  astonishment  a  performance  of  Bach's  Motet, 
'  Singet  dem  Herrn  ein  neues  Lied.'     '  At  the  conclusion  he  expressed 
his  delight,  and  said,  "  Now  that  is  something  from  which  a  man  may 
learn."     On  being  informed  that  Bach  was  Cantor  to  this  school,  and 
that  his  Motets  were  venerated  there  as  reliques,  he  was  eager  to  see 
them.     No  score  being  to  be  obtained,  they  handed  him  the  separate 
parts,  and  it  was  interesting  to  observe  his  manner  of  reading  them, 
holding  some  in  his  hands,  some  on  his  knees,  placing  some  on  chairs 
around  him ;  seeming  thoroughly  lost  to  everything,  and  not  rising  till 
he  had  thoroughly  satisfied  bis  curiosity '  (Holmes,  '  Life  of  Mozart,' 
ed.  Dent,  p.  251). 

2  There  were  in  Bach's  time  three  '  Clavier '  instruments  in  use. 
The   oldest,   the   Clavichord,   as   a   rule,  had  two  strings  to  every 
note,  set  in  motion  by  a  '  tangent '  striking  them  from  below.     Its 
advantage  was  that  it  permitted  the  tone  to  be  regulated  by  the 
touch.     For  that  reason,  though  its  tone  was  weak,  Bach  preferred 
it.     The  Clavicembalo,  or  Harpsichord,  as  it  is  called  in  the  text,  was 
in  general  known  as  the  '  Fliigel,'  the  strings  being  plucked,  or  flipped 
by  a  quill  or  metal  pin,  after  the  manner  of  the  modern  mandoline. 
The  third  instrument  was  the  '  piano  e  forte,'  or  Hammerclavier. 


BACH  AS  A  CLAVIER  PLAYER        59 

Both  for  practice  and  intimate  use  he  regarded 
the  Clavichord  as  the  best  instrument  and  pre- 
ferred to  express  on  it  his  finest  thoughts.  He  held 
the  Harpsichord,  or  Clavicembalo,  incapable  of  the 
gradations  of  tone  obtainable  on  the  Clavichord, 
an  instrument  which,  though  feeble  in  quality,  is 
extremely  flexible. 

No  one  could  adjust  the  quill  plectrums  of  his 
Harpsichord  to  Bach's  satisfaction ;  he  always 
did  it  himself.  He  tuned  his  Harpsichord  and 
Clavichord,  and  was  so  skilful  in  the  operation 
that  it  never  took  him  more  than  a  quarter  of  an 
hour.  It  enabled  him  to  play  in  any  key  he 
preferred,  and  placed  the  whole  twenty-four  of 
them  at  his  disposal,  so  that  he  could  modulate 
into  the  remoter  as  easily  and  naturally  as  into 
the  more  nearly  related  keys.  Those  who  heard 
him  frequently  could  hardly  detect  the  fact  that 
he  had  modulated  into  a  distant  key,  so  smooth 
were  his  transitions.  In  chromatic  movements 
his  modulation  was  as  easy  and  sequent  as  in 
diatonic.  His  '  Chromatic  Fantasia,'  which  is 
now  published,1  bears  out  my  statement.  In 
his  extemporisation  he  was  even  freer,  more 
brilliant  and  expressive. 

The  Clavicembalo  was  also  built  with  two  keyboards,  like  an  Organ, 
and  a  pedal-board  provided  with  strings.  It  was  for  this  instrument 
that  the  so-called  Organ  Sonatas  of  Bach  were  written.  He  possessed 
five  Clavicembali,  but  not  a  single  Clavichord  at  the  time  of  his  death. 
For  that  reason  it  has  been  questioned  whether  Forkel  is  accurate  in 
stating  that  Bach  preferred  the  latter  instrument.  See  Schweitzer, 
i.  200  ff.  »  Peters  bk.  207  p.  4. 


60  JOHANN  SEBASTIAN  BACH 

When  he  played  his  own  music  Bach  usually 
adopted  a  brisk  pace.  He  contrived  to  introduce 
so  much  variety  that  every  piece  became  a  sort 
of  conversation  between  its  parts.  If  he  wished 
to  express  deep  emotion  he  did  not  strike  the  notes 
with  great  force,  as  many  do,  but  expressed  his 
feeling  in  simple  melodic  and  harmonic  figures,1 
relying  rather  on  the  internal  resources  of  his  art 
than  external  dynamics.  Therein  he  was  right. 
True  emotion  is  not  suggested  by  hammering 
the  Clavier.  All  that  results  is  that  the  notes 
cannot  be  heard  distinctly,  much  less  be  connected 
coherently. 

1  The  truth  of  this  remark  is  very  evident  in  the  '  Orgelbuchlein.' 


THK  BACH    STATUE   AT   EISKXACH. 


CHAPTER  IV 

BACH   THE    ORGANIST 

WHAT  has  been  said  regarding  Bach's  admirable 
Clavier  playing  applies  generally  to  his  skill  as 
an  organist.  The  Clavier  and  Organ  have  points 
in  common,  but  in  style  and  touch  are  as  different 
as  their  respective  uses.  What  sounds  well  on 
the  Clavier  is  ineffective  on  the  Organ,  and  vice 
versa.  The  most  accomplished  Clavier  player 
may  be,  and  usually  is,  a  bad  organist  unless  he 
realises  the  differing  natures  of  the  two  instruments 
and  the  uses  they  serve.  I  have  come  across 
only  two  men  who  can  be  regarded  as  exceptions 
to  this  general  rule — Bach  and  his  eldest  son, 
Wilhelm  Friedemann.  Both  were  finished  Clavier 
performers,  but  no  trace  of  the  Clavier  style  was 
apparent  when  they  played  the  Organ.  Melody, 
harmony,  and  pace  were  carefully  selected  with 
due  regard  to  the  nature  and  distinctive  use  of 
each  instrument.  When  Wilhelm  Friedemann 
played  the  Clavier  his  touch  was  elegant,  delicate, 
agreeable.  When  he  played  the  Organ  he  inspired 
a  feeling  of  reverent  awe.  On  the  one  he  was 


62  JOHANN  SEBASTIAN  BACH 

charming.  On  the  other  he  was  solemn,  im- 
pressive. So  also  was  his  father,  and  to  an  even 
greater  degree.  Wilhelm  Friedemann  was  a  mere 
child  to  him  as  an  organist,  and  frankly  admitted 
the  fact.1  The  music  that  extraordinary  man 
wrote  for  the  Organ  is  full  of  dignity,  awe-inspiring, 
saturated  with  the  atmosphere  of  devotion.  His 
improvisation  was  even  more  inspired,  dignified, 
and  impressive :  for  then  his  imagination  was 
untrammelled  by  the  irksomeness  of  expressing 
himself  on  paper.  What  is  the  essence  of  this 
art  ?  Let  me,  though  imperfectly,  attempt  an 
answer. 

When  we  compare  Bach's  Clavier  compositions 
with  those  written  for  the  Organ  it  is  at  once 
apparent  that  they  differ  essentially  in  melodic 
and  harmonic  structure.  Hence  we  conclude 
that  a  good  organist  must  select  fitting  themes  for 
his  instrument,  and  let  himself  be  guided  by  its 
character  and  that  of  the  place  in  which  it  stands 
and  by  the  objects  of  its  use.  Its  great  body  of 
tone  renders  the  Organ  ill-adapted  to  light  and 
jaunty  music.  Its  echoes  must  have  liberty  to 
rise  and  fall  in  the  dim  spaces  of  the  church, 
otherwise  the  sound  becomes  confused,  blurred, 
and  unintelligible.  What  is  played  upon  it 

1  Forkel  writes  as  though  he  were  in  a  position  by  personal 
knowledge  to  compare  the  gifts  of  Bach  and  his  son.  In  fact 
he  was  born  in  1749  and  was  less  than  two  years  old  when 
Bach  died. 


BACH  THE  ORGANIST  63 

must  be  suited  to  the  place  and  the  instru- 
ment, in  other  words,  must  be  congruous  to 
a  solemn  and  majestic  fabric.  Occasionally 
and  exceptionally  a  solo  stop  may  be  used 
in  a  Trio,  etc.  But  the  proper  function  of 
the  Organ  is  to  support  church  singing  and 
to  stimulate  devotional  feeling.  The  composer 
therefore  must  not  write  music  for  it  which 
is  congruous  to  secular  surroundings.  What  is 
commonplace  and  trite  can  neither  impress  the 
hearer  nor  excite  devotional  feeling.  It  must 
therefore  be  banished  from  the  Organ-loft.  How 
clearly  Bach  grasped  that  fact !  Even  his  secular 
music  disdained  trivialities.  Much  more  so  his 
Organ  music,  in  which  he  seems  to  soar  as  a  spirit 
above  this  mortal  planet. 

Of  the  means  by  which  Bach  attained  to  such 
an  altitude  as  a  composer  for  the  Organ  we  may 
notice  his  harmonic  treatment  of  the  old  Church 
modes,  his  use  of  the  obbligato  pedal,  and  his 
original  registration.  The  remoteness  of  the 
ecclesiastical  modes  from  our  twenty-four  major 
and  minor  keys  renders  them  particularly  ap- 
propriate to  the  service  of  religion.  Any  one  who 
looks  at  Bach's  simple  four-part  Hymn  tunes 
(Choralgesdnge)  will  at  once  convince  himself  of 
the  fact.  But  no  one  can  realise  how  the  Organ 
sounds  under  a  similar  system  of  harmonic 
treatment  unless  he  has  heard  it.  It  becomes 
a  choir  of  four  or  five  parts,  each  in  its  natural 


64 


JOHANN  SEBASTIAN  BACH 


compass.      Compare     the    following     chords    in 
divided  harmony : 


with  these  : 


which  is  the  more  usual  form  organists  employ. 
We  realise  instantly  the  effect  when  music  in  four 
or  more  parts  is  played  in  the  same  manner. 
Bach  always  played  the  Organ  so,  adding  the 
obbligato  pedal,  which  few  organists  know  how 
to  use  properly.  He  employed  it  not  only  to 
sound  the  low  notes  which  organists  usually  play 
with  the  left  hand,  but  he  gave  it  a  regular 
part  of  its  own,  often  so  complicated  that  many 
organists  would  find  it  difficult  to  play  with  their 
five  fingers. 

To  these  qualities  must  be  added  the  exquisite 
art  Bach  displayed  hi  combining  the  stops  of  the 
Organ.  His  registration  frequently  astonished 
organists  and  Organ  builders,  who  ridiculed  it  at 
first,  but  were  obliged  in  the  end  to  admit  its 


BACH  THE  ORGANIST  65 

admirable  results  and  to  confess  that  the  Organ 
gained  in  richness  and  sonority.1 

Bach's  peculiar  registration  was  based  on  his 
ultimate  knowledge  of  Organ  building  and  of  the 
properties  of  each  individual  stop.  Very  early  in 
his  career  he  made  a  point  of  giving  to  each  part 
of  the  Organ  the  utterance  best  suited  to  its 
qualities,  and  this  led  him  to  seek  unusual  com- 
binations of  stops  which  otherwise  would  not  have 
occurred  to  him.  Nothing  escaped  his  notice 
which  had  the  slightest  bearing  on  his  art  or  pro- 
mised to  advance  it.  For  instance,  he  made  a 
point  of  observing  the  effect  of  large  musical 
compositions  in  different  surroundings.  The  prac- 
tised ear,  which  enabled  him  to  detect  the  slightest 
error  hi  music  even  of  the  fullest  and  richest 
texture,  and  the  art  and  rapidity  with  which  he 
tuned  his  instrument,  alike  attest  his  intuitive 
skill  and  many-sidedness.  When  he  was  at  Berlin 
in  1747  he  was  shown  the  new  Opera  House.  He 
took  in  its  good  and  bad  qualities  at  a  glance, 
whereas  others  had  done  so  only  after  experience. 
He  was  shown  the  large  adjoining  Saloon  and 
went  up  into  the  gallery  that  runs  round  it. 
Merely  glancing  at  the  roof  he  remarked,  '  The 
architect  has  secured  a  novel  effect  which,  pro- 
bably, neither  himself  nor  any  one  else  suspected.' 
The  Saloon,  in  fact,  is  a  parallelogram.  If  a 

1  On  Bach's  use  of  the  stops  see  Spitta,  i.  394  ff.,  and  Pirro's  •  L'Orgue 
de  J.-S.  Bach.' 


66  JOHANN  SEBASTIAN  BACH 

person  puts  his  face  to  the  wall  in  one  corner  of 
it  and  whispers  a  few  words,  another  person  at 
the  corner  diagonally  opposite  can  hear  them 
distinctly,  though  to  others  between  them  the 
words  are  inaudible.  The  effect  arises  from  the 
span  of  the  arches  in  the  roof,  as  Bach  saw  at  a 
glance.  These  and  similar  observations  suggested 
to  him  striking  and  unusual  combinations  of 
Organ  stops. 

Bach  brought  the  methods  I  have  indicated  to 
bear  upon  Church  music,  and  they  help  to  explain 
his  extraordinarily  dignified  and  inspired  playing, 
which  was  at  once  so  appropriate  and  filled  the 
listener  with  deep  awe  and  admiration.  His  pro- 
found knowledge  of  harmony,  unfailing  originality, 
freedom  from  a  secular  style,  his  complete  com- 
mand of  the  instrument,  both  manuals  and 
pedals,  whence  flowed  a  generous  stream  of  the 
richest  and  most  abundant  fancy,  the  infallible 
and  swift  judgment  which  allowed  him  always  to 
select  from  the  treasury  of  his  mind  precisely  the 
musical  ideas  best  suited  to  the  occasion  immedi- 
ately before  him,  his  intuitive  grasp  of  every 
detail,  and  his  power  to  make  it  serve  his  artistic 
ends — in  a  word,  his  transcendent  genius  brought 
the  art  of  Organ  playing  to  a  degree  of  perfection 
which,  till  then,  it  had  never  attained  and  hardly 
will  attain  again.  Quantz  x  has  expressed  the 

1  Johann  Joachim  Quantz,  b.  1697 ;  flute  player  and  composer  ; 
taught  Frederick  the  Great  the  flute ;  settled  at  Berlin  as  Kamrner- 
musikus  and  Court  Composer ;  d.  1773. 


BACH  THE  ORGANIST  67 

same  opinion.  '  The  admirable  Johann  Sebastian 
Bach,'  he  writes, '  brought  the  art  of  Organ  playing 
to  its  highest  perfection.  It  is  to  be  hoped  that 
when  he  dies  it  will  not  be  suffered  to  decline  or 
be  lost,  as  is  to  be  feared  from  the  small  number 
of  people  who  nowadays  bestow  pains  upon  it.'  * 

Strangers  often  asked  Bach  to  play  to  them 
between  the  hours  of  divine  service.  On  those 
occasions  he  was  wont  to  select  and  treat  a  theme 
in  various  ways,  making  it  the  subject  of  each 
extemporisation  even  if  he  continued  playing  for 
two  hours.  As  a  beginning  he  played  a  Prelude  and 
Fugue  on  the  Great  Organ.  Then  he  developed  it 
with  solo  stops  in  a  Trio  or  Quartet.  A  Hymn- 
tune  followed,  whose  melody  he  interrupted  hi 
the  subtlest  fashion  with  fragments  of  the  theme 
in  three  or  four  parts.  Last  came  a  Fugue,  with  full 
Organ,  in  which  he  treated  the  subject  alone  or 
in  association  with  one  or  more  accessory  themes. 
Here  we  have  the  art  which  old  Reinken  of  Ham- 
burg considered  to  be  lost,  but  which,  as  he 
afterwards  found,  not  only  survived  but  attained 
its  greatest  perfection  in  Bach. 

Bach's  pre-eminent  position  and  his  high  reputa- 
tion often  caused  him  to  be  invited  to  examine 
candidates  for  vacant  organistships,  and  to  report 
on  new  Organs.  In  both  cases  he  acted  so  con- 
scientiously and  impartially  that  he  generally  made 

1  The  '  Nekrolog  '  sums  up  more  briefly  than  Forkel,  in  a  judgment 
which,  without  doubt,  is  the  very  truth :  '  Bach  was  the  greatest 
Organ  player  that  has  yet  been  known.' 


68  JOHANN  SEBASTIAN  BACH 

enemies.  Scheibe,  late  Director  of  Music  at  the 
Danish  Court,  who  as  a  young  man  was  examined 
by  Bach  on  such  an  occasion,  was  so  incensed 
by  Bach's  unfavourable  verdict  that  he  after- 
wards avenged  himself  in  his  '  Critical  Musician  ' 
by  violently  attacking  his  examiner.1  In  his 
examination  of  Organs  Bach  equally  exposed 
himself  to  trouble.  He  could  as  little  prevail  on 
himself  to  praise  a  bad  instrument  as  to  recom- 
mend a  bad  organist.  He  was,  therefore,  severe, 
though  always  f air,  in  the  tests  he  applied,  and  as 
he  was  thoroughly  acquainted  with  the  construc- 
tion of  the  instrument  it  was  hopeless  to  attempt 
to  deceive  him.  First  of  all  he  drew  out  all  the 
stops,  to  hear  the  Full  Organ.  He  used  to  say 
jokingly,  that  he  wanted  to  find  out  whether  the 
instrument  had  good  lungs  !  Then  he  gave  every 
part  of  it  a  most  searching  test.  But  his  sense 
of  fairness  was  so  strong  that,  if  he  found  the  work 
really  well  done,  and  the  builder's  remuneration 

1  Johann  Adolph  Scheibe,  a  native  of  Leipzig,  was  an  unsuccessful 
candidate  for  the  Organistship  of  St.  Thomas'  Church  in  1729.  Bach 
was  one  of  the  judges.  In  1737  Scheibe  published  in  the  '  Kritische 
Musikus '  a  criticism  of  Bach  which,  while  doing  justice  to  his  powers 
as  an  organist,  characterised  his  compositions  as  '  turgid  and  confused 
in  character.'  Bach  was  incensed  by  the  criticism  and  asked  his 
friend,  Professor  Birnbaum  of  Leipzig,  to  answer  it.  Scheibe  replied 
in  1739,  with  a  wholly  unjustified  challenge  of  Bach's  general  educa- 
tion and  culture.  In  his  '  Phoebus  and  Pan,'  performed  in  1731,  Bach 
had  already  had  the  satisfaction  of  representing  Scheibe  as  '  Midas  ' 
and  calling  him  an  ass.  On  the  whole  matter  see  Schweitzer,  i.  178  ff. 
and  Spitta,  iii.  252.  Scheibe  conducted  the  Court  orchestra  at  Copen- 
hagen from  1742-49  and  died  there  in  1776. 


BACH  THE  ORGANIST  69 

too  small,  so  that  he  was  likely  to  be  a  loser, 
Bach  endeavoured,  and  often  successfully,  to 
procure  for  him  an  adequate  addition  to  the 
purchase  price. 

When  the  examination  was  over,  especially  if 
the  instrument  pleased  him,  Bach  liked  to  exhibit 
his  splendid  talent,  both  for  his  own  pleasure  and 
the  gratification  of  those  who  were  present.  Such 
demonstrations  of  his  powers  invariably  invited 
the  verdict,  that  he  was  conclusively  '  the  prince 
of  Clavier  and  Organ  players,'  a  title  which  Sorge, 
the  late  highly-esteemed  organist  at  Lobenstein,1 
once  gave  him  hi  a  dedicatory  Preface. 

1  Georg  Andreas  Sorge,  '  Court  and  Town  Organist  to  the  Count  of 
Reuss  and  Plau  at  Lobenstein,'  in  his  dedication  thus  commended 
Bach :  '  The  great  musical  virtue  that  Your  Excellency  possesses  is 
embellished  with  the  excellent  virtue  of  affability  and  unfeigned  love 
of  your  neighbour.'  See  Schweitzer,  i.  155. 


CHAPTER  V 

BACH   THE   COMPOSER 

BACH'S  first  attempts  at  composition,  like  all 
early  efforts,  were  unsatisfactory.  Lacking  special 
instruction  to  direct  him  towards  his  goal,  he  was 
compelled  to  do  what  he  could  in  his  own  way, 
like  others  who  have  set  out  upon  a  career  with- 
out a  guide.  Most  youthful  composers  let  their 
fingers  run  riot  up  and  down  the  keyboard,  snatch- 
ing handfuls  of  notes,  assaulting  the  instrument 
in  wild  frenzy,  in  hope  that  something  may  result 
from  it.  Such  people  are  merely  Finger  Com- 
posers— in  his  riper  years  Bach  used  to  call  them 
Harpsichord  Knights — that  is  to  say,  their  fingers 
tell  them  what  to  write  instead  of  being  instructed 
by  the  brain  what  to  play.1  Bach  abandoned  that 
method  of  composition  when  he  observed  that 

1  The  following  passage  from  the  Autobiography  of  Hector  Berlioz 
(ed.  Dent,  p.  11)  is  relevant :  '  My  father  would  never  let  me  learn  the 
piano ;  if  he  had,  no  doubt  I  should  have  joined  the  noble  army  of 
piano  thumpers.  .  .  .  Sometimes  I  regret  my  ignorance,  yet,  when 
I  think  of  the  ghastly  heap  of  platitudes  for  which  that  unfortunate 
piano  is  made  the  daily  excuse — insipid,  shameless  productions,  that 
would  be  impossible  if  their  perpetrators  had  to  rely,  as  they  ought, 
on  pencil  and  paper  alone — then  I  thank  the  fates  for  having  forced 
me  to  compose  silently  and  freely  by  saving  me  from  the  tyranny  of 
finger- work,  that  grave  of  original  thought.' 


BACH  THE  COMPOSER  71 

brilliant  flourishes  lead  nowhere.  He  realised  that 
musical  ideas  need  to  be  subordinated  to  a  plan 
and  that  the  young  composer's  first  need  is  a 
model  to  instruct  his  efforts.  Opportunely 
Vivaldi's  Concertos  for  the  Violin,1  then  recently 
published,  gave  him  the  guidance  he  needed.  He 
had  often  heard  them  praised  as  admirable  works 
of  art,  and  conceived  the  happy  idea  of  arranging 
them  for  the  Clavier.2  Hence  he  was  led  to  study 
their  structure,  the  musical  ideas  on  which  they 
are  built,  the  variety  of  their  modulations,  and 
other  characteristics.  Moreover,  in  adapting  to 
the  Clavier  ideas  and  phrases  originally  written 
for  the  Violin  Bach  was  compelled  to  put  his 
brain  to  work,  and  so  freed  his  inspiration  from 
dependence  on  his  fingers.  Henceforth  he  was 
able  to  draw  ideas  out  of  his  own  storehouse,  and 
having  placed  himself  on  the  right  road,  needed 
only  perseverance  and  hard  work  to  succeed. 
And  how  persevering  he  was  !  He  even  robbed 

1  Antonio  Vivaldi,  d.  1743 ;   a  master  of  form.    That  fact  turned 
the  attention  of  German  composers  to  him  ;   while  the  popularity  of 
his  Violin  Concertos  also  attracted  musicians,  like  Bach,  whose  work 
at    Cothen   was   in   close   association    with   the   Court   Kapelle   or 
band. 

2  Bach  re-wrote  sixteen  Vivaldi  Violin  Concertos  for  the  Clavier, 
four  of  them  for  the  Organ,  and  developed  one  into  a  Concerto  for  four 
Claviers  and  a  quartet  of  strings  which  Forkel  enumerates  (infra,  p.  132) 
as  a  composition  of  Bach's  (Peters  bk.  260).     Bach  learnt  from  Vivaldi 
'  clearness  and  plasticity  of  musical  structure.'     See  article  '  Vivaldi ' 
in  Grove;  Spitta,  i.  411  ff ;  Schweitzer,  i.  192  ff.     The  Vivaldi  Clavier 
Concertos  are  in  Peters   bk.    217 ;    the  Organ  Concertos  in  Novello 
bk.   11.    Not  all  these  transcriptions  are  based  on  Vivaldi.    See 
Schweitzer,  i.  193. 


72  JOHANN  SEBASTIAN  BACH 

himself  of  sleep  to  practise  in  the  night  what  he 
had  written  during  the  day !  But  the  diligence 
he  bestowed  upon  his  own  compositions  did  not 
hinder  him  from  studying  the  works  of  Fresco- 
baldi,1  Froberger,  Kerl,  Pachelbel,  Fischer, 
Strungk,2  Buxtehude,  Reinken,  Bruhns,  Bohm, 
and  certain  French  organists  who  were  famed  hi 
those  days  as  masters  of  harmony  and  fugue.3 

The  models  he  selected — Church  musicians  for 
the  most  part — and  his  own  disposition  inclined 
him  to  serious  and  exalted  subjects.  But  in  that 
kind  of  music  little  can  be  accomplished  with 
inadequate  technique.  Bach's  first  object,  there- 
fore, was  to  develop  his  power  of  expressing  him- 
self before  he  attempted  to  realise  the  ideal  that  ~ 
beckoned  him.  Music  to  him  was  a  language,  and  / 
the  composer  a  poet  who,  whatever  the  idiom  he 
affects,  must  first  of  all  have  at  his  disposal  the 
means  of  making  himself  intelligible  to  others. 
But  the  technique  of  his  period  Bach  found  limited 
in  variety  and  insufficiently  pliable.  Therefore 
he  set  himself  at  the  outset  to  refashion  the 
accepted  harmonic  system.  He  did  so  in  a 
manner  characteristically  individual  and  bearing 
the  impress  of  his  personality. 

1  Girolamo  Frescobaldi,  b.  1583,  d.  1644 ;    Organist  of  St.  Peter's, 
Rome. 

2  Delphin  Strungk,  b.   1601,  d.   1694 ;    Organist  of  St.  Martin's, 
Brunswick  ;   composed  for  the  Organ. 

3  Purcell  should  be  added  to  those  whom  Forkel  mentions  as  Bach's 
models.     See  infra,  p.  261. 


BACH  THE  COMPOSER  73 

If  the  language  of  music  is  merely  the  utterance 
of  a  melodic  line,  a  simple  sequence  of  musical 
notes,  it  can  justly  be  accused  of  poverty.  The 
addition  of  a  Bass  puts  it  upon  a  harmonic  founda- 
tion and  clarifies  it,  but  defines  rather  than  gives 
it  added  richness.  A  melody  so  accompanied — 
even  though  all  the  notes  are  not  those  of  the 
true  Bass — or  treated  with  simple  embellishments 
in  the  upper  parts,  or  with  simple  chords,  used  to 
be  called  '  homophony.'  But  it  is  a  very  different 
thing  when  two  melodies  are  so  interwoven  that 
they  converse  together  like  two  persons  upon  a 
footing  of  pleasant  equality.  In  the  first  case 
the  accompaniment  is  subordinate,  and  serves 
merely  to  support  the  first  or  principal  part.  In 
the  second  case  the  two  parts  are  not  similarly 
related.  New  melodic  combinations  spring 
from  their  interweaving,  out  of  which  new 
forms  of  musical  expression  emerge.  If  more 
parts  are  interwoven  in  the  same  free  and  inde- 
pendent manner,  the  apparatus  of  language  is 
correspondingly  enlarged,  and  becomes  practically 
inexhaustible  if,  hi  addition,  varieties  of  form 
and  rhythm  are  introduced.  Hence  harmony 
becomes  no  longer  a  mere  accompaniment  of 
melody,  but  rather  a  potent  agency  for  aug- 
menting the  richness  and  expressiveness  of  musical 
conversation.  To  serve  that  end  a  simple  ac- 
companiment will  not  suffice.  True  harmony  is 
the  interweaving  of  several  melodies,  which 


74  JOHANN  SEBASTIAN  BACH 

emerge  now  in  the  upper,  now  in  the  middle, 
and  now  in  the  lower  parts. 

From  about  the  year  1720,  when  he  was  thirty- 
five,  until  his  death  in  1750,  Bach's  harmony 
consists  in  this  melodic  interweaving  of  inde- 
pendent melodies,  so  perfect  in  their  union  that 
each  part  seems  to  constitute  the  true  melody. 
Herein  Bach  excels  all  the  composers  in  the  world.* 
At  least,  I  have  found  no  one  to  equal  him  in 
music  known  to  me.  Even  in  his  four-part 
writing  we  can,  not  infrequently,  leave  out  the 
upper  and  lower  parts  and  still  find  the  middle 
parts  melodious  and  agreeable. 

But  in  harmony  of  this  kind  each  part  must  be 
highly  plastic  ;  otherwise  it  cannot  play  its  role 
as  an  actual  melody  and  at  the  same  time  com- 
bine with  the  other  parts.  To  produce  it  Bach 
followed  a  course  of  his  own,  upon  which  the  text- 
books of  his  day  were  silent,  but  which  his  genius 
suggested  to  him.  Its  originality  consists  in  the 
freedom  of  his  part  writing,  in  which  he  trans- 
gresses, seemingly,  at  any  rate,  rules  long  estab- 
lished and  to  his  contemporaries  almost  sacred. 
Bach,  however,  realised  their  object,  which  was 
simply  to  facilitate  the  flow  of  pure  melody 
on  a  sound  harmonic  basis,  in  other  words, 
successive  and  coexistent  euphony,  and  he  suc- 
ceeded with  singular  success  though  by  un- 

*  See  Kirnberger's  '  Kunst  des  reinen  Satzes,'  p.  157.  [The  work 
was  published  in  two  volumes  at  Berlin  in  1771,  1776.] 


BACH  THE  COMPOSER  75 

familiar   means.      Let   me  explain   my   meaning 
more  closely. 

Between  simple  intervals  there  is  little  diffi- 
culty in  deciding  whether  the  second  note  must 
rise  or  fall.  And  in  regard  to  phrases,  or  sections 
of  a  phrase,  if  we  analyse  their  structure  and 
follow  out  their  harmonic  tendency,  their  resolu- 
tion is  equally  clear.  But  this  sense  of  destina- 
tion may  be  provoked  in  each  part  by  different 
intervals.  As  we  have  observed  already,  every 
one  of  the  four  parts  must  flow  melodically  and 
freely.  But  to  secure  that  result  it  will  be  neces- 
sary to  introduce  between  the  notes  which  begin 
a  phrase  and  establish  its  general  atmosphere 
other  notes  which  often  are  not  consonant  with 
those  employed  in  the  other  parts  and  whose 
incidence  is  governed  by  the  accent.  This  is  what 
we  call  a  transitus  regularis  et  irregularis.1  Each 
part  starts  from  a  fixed  point,  and  returns  to  it, 
but  travels  freely  between  them.  No  one  has 
made  more  use  of  such  progressions  than  Bach 
in  order  to  colour  his  parts  and  give  them  a  char- 
acteristic melodic  line.  Hence,  unless  his  music 
is  played  with  perfect  fluency,  occasional  passages 
will  sound  harshly  and  we  may  be  tempted  to 
accuse  him  of  exaggeration.  But  the  charge  is 
ill  founded.  Once  we  play  them  as  Bach  intended 


1  Transitus  regularis =a  passing  note  on  the  unaccented  portions  of 
the  bar  ;  transitus  irregularis— &  passing  note  on  the  accented  part  of 
the  bar. 


76  JOHANN  SEBASTIAN  BACH 

them,  such  passages  reveal  their  full  beauty  and 
their  attractive  though  bizarre  dissonance  opens 
up  new  vistas  in  the  realm  of  sound. 

But,  to  speak  in  detail  of  Bach's  transgression 
of  recognised  rules.  To  begin  with,  he  admitted 
octaves  and  fifths  provided  they  sounded  well ; 
that  is,  when  the  cause  of  their  being  forbidden 
did  not  arise.1  Everybody  knows  that  there  are 
positions  in  which  they  sound  well,  and  others 
when  they  should  be  avoided,  owing  to  the  harsh 
effect  or  thin  harmony  they  produce.  Bach's 
octaves  and  fifths  never  produce  bad  or  thin 
harmony,  and  he  was  very  definite  as  to  when 
they  could  and  could  not  be  used.  In  certain 
circumstances  he  would  not  permit  hidden  fifths 
and  octaves  even  between  the  middle  parts, 
though  we  exclude  them  only  between  the  outer 
parts.  Yet,  on  occasion  he  used  them  in  such  a 
barefaced  manner  as  to  puzzle  the  beginner  in 
composition.  But  their  use  very  soon  commends 
itself.  Even  in  the  last  revision  of  his  early  com- 
positions we  find  him  altering  passages,  which  at 
first  sight  appear  impeccable,  with  the  object  of 
enriching  their  harmony  and  without  scrupling  to 
use  hidden  octaves.  A  remarkable  instance  occurs 

1  Spitta  (iii.  315  ff.)  prints  a  treatise  by  Bach,  'Rules  and  Instructions 
for  playing  Thorough- bass  or  Accompaniment  in  Four  Parts,'  dated  1738. 
Rule  3  of  chap.  vi.  states  :  '  Two  fifths  or  two  octaves  must  not  occur 
next  one  another,  for  this  is  not  only  a  fault,  but  it  sounds  wrong.  To 
avoid  this  there  is  an  old  rule,  that  the  hands  must  always  go  against 
one  another,  so  that  when  the  left  goes  up  the  right  must  go  down, 
and  when  the  right  goes  up  the  left  must  go  down.' 


BACH  THE  COMPOSER  77 

in  the  first  part  of  the  '  Well-tempered  Clavier,' 
in  the  E  major  Fugue,  between  the  fifth  and  fourth 
bars  from  the  end.1  I  regret  to  this  hour  that, 
on  looking  over  the  later  text,  from  which  Hoff- 
meister  and  Runnel's  edition  of  that  work  is 
printed,2  I  was  so  foolish  as  to  reject  Bach's 
amended  reading  there,  merely  because  the  har- 
mony is  unorthodox  though  more  pleasing.  I 
stupidly  preferred  the  older,  more  correct,  and 
harsher  reading,  though  in  the  later  text  the 
three  parts  run  easily  and  smoothly.  And  what 
more  can  one  demand  ? 

Again,  there  is  a  rule  that  every  note  raised 
by  an  accidental  cannot  be  doubled  in  the  chord, 
because  the  raised  note  must,  from  its  nature, 
resolve  on  the  note  above.  If  it  is  doubled,  it 
must  rise  doubled  in  both  parts  and,  conse- 
quently, form  consecutive  octaves.  Such  is  the 
rule.  But  Bach  frequently  doubles  not  only  notes 
accidentally  raised  elsewhere  in  the  scale  but 
actually  the  semitonium  modi  or  leading -note 
itself.  Yet  he  avoids  consecutive  octaves.  His 
finest  works  yield  examples  of  this. 

Again,  Bach's  statement  that  '  over  a  pedal 
point  all  intervals  are  permissible  that  occur  in 
the  three  scales '  3  should  be  regarded  rather  as 

1  Actually  the  third  beat  of  the  fourth  bar  from  the  end.     P.  bk.  1 
p.  37  Fugue  no.  9. 

2  Forkel  edited  the  '  Wohltemperirte   Clavier '  for  Hoffmeister  in 
1801. 

3  The  rule  is  not  in  the  '  Rules  and  Instructions '  already  referred  to. 


78  JOHANN  SEBASTIAN  BACH 

an  expansion  than  a  violation  of  the  recognised 
rule.  In  general  what  is  called  an  Organ  point  is 
merely  a  retarded  close.  Bach,  however,  did  not 
hesitate  to  employ  it  in  the  middle  of  a  piece  ;  a 
striking  example  occurs  in  the  last  Gigue  of  the 
'  English  Suites.'1  On  a  first  hearing  this  Gigue, 
imperfectly  rendered,  may  not  sound  well.  But 
it  grows  more  beautiful  as  it  becomes  more 
familiar,  and  what  seemed  harsh  is  found  to  be 
smooth  and  agreeable,  until  one  never  tires  of 
playing  and  hearing  it. 

Bach's  modulation  was  as  original  and  char- 
acteristic as  his  harmony,  and  as  closely  related  to 
it.  But  the  two  things,  though  closely  associated, 
are  not  the  same.  By  harmony  we  mean  the 
concordance  of  several  parts ;  by  modulation,  their 
progression  through  keys.  Modufe*io»-cair"take 
place  in  a  single  part.  Harmony  requires  more  than 
one.  I  will  endeavour  to  make  my  meaning  clearer. 

Most  composers  stick  closely  to  their  tonic  key 
and  modulate  out  of  it  with  deliberation.  In 
music  that  requires  a  large  number  of  performers, 
and  in  a  building,  for  instance  a  church,  where 
the  large  volume  of  sound  dies  away  slowly,  such 
a  habit  shows  good  sense  in  the  composer  who 
wishes  his  work  to  produce  the  best  possible 
effect.  But  in  chamber  or  instrumental  music 
it  is  not  always  a  proof  of  wisdom,  but  rather  of 
mental  poverty.  Bach  saw  clearly  that  the  two 

1  Suite  No.  6,  in  D  minor  (P.  bk.  204  p.  84). 


BACH  THE  COMPOSER  79 

styles  demand  different  treatment.  In  his  large 
choral  compositions  he  bridles  his  exuberant 
fancy.  In  his  instrumental  works  he  lets  himself 
go.  As  he  never  courted  popularity,  but  always 
pursued  his  ideal,  Bach  had  no  reason  to  suppress 
the  nobility  of  his  inspirations,  or  to  lower  their 
standard  for  public  consumption.  Nor  did  he 
ever  do  so.  Therefore  every  modulation  in  his 
instrumental  work  is  a  new  thought,  a  constantly 
progressive  creation  in  the  plane  of  the  chosen 
keys  and  those  related  to  them.  He  holds  fast 
to  the  essentials  of  harmony,  but  with  every 
modulation  introduces"~a  new  suggestion  and 
glides  so  smoothly  to  the  end  of  a  piece  that  no 
creaking  of  machinery  is  perceptible ;  yet  no 
single  bar — I  might  almost  say  no  part  of  a  bar — 
is  like  another.  Every  modulation  bears  a  strict 
relationship  to  the  key  from  which  it  proceeds, 
and  springs  naturally  from  it.  Bach  ignored,  or 
rather  despised,  the  sudden  sallies  by  which  many 
composers  seek  to  surprise  their  hearers.  Even 
in  his  chromatic  passages  his  progressions  are 
so  smooth  and  easy  that  we  are  hardly  conscious 
of  them,  however  extreme  they  may  be.  He 
makes  us  feel  that  he  has  not  stepped  outside  the 
diatonic  scale,  so  quick  is  he  to  seize  upon  the 
consonances  common  to  dissonant  systems  and 
combine  them  to  his  sure  purpose. 


CHAPTER  VI 

BACH  THE  COMPOSER  (continued) 

BACH'S  treatment  of  harmony  and  modulation 
powerfully  influenced  his  melody.  The  strands 
of  his  harmony  are  really  concurrent  melodies. 
They  flow  easily  and  expressively,  never  engross 
the  hearer's  attention,  but  divide  his  interest, 
as  now  one  now  the  other  becomes  prominent. 
Even  when  they  are  noticeable  they  seem  obscured 
by  the  melodic  parts  that  accompany  them — I 
say  *  seem  obscured,'  for  if  the  hearer  is  sufficiently 
instructed  to  distinguish  the  several  melodies  hi 
the  ensemble  he  will  discover  them  to  be  more 
clearly  defined  by  their  accompaniment. 

The  combination  of  several  melodic  lines  obliges 
the  composer  to  use  devices  which  are  unnecessary 
in  homophonic  music.  A  single  melody  can 
develop  as  it  pleases.  But  when  two  or  more  are 
combined  each  must  be  so  delicately  and  cleverly 
fashioned  that  it  can  be  interwoven  with  the 
others  hi  this  direction  and  in  that.  And  here 
we  detect  one  at  least  of  the  reasons  why  Bach's 
melodies  are  so  strangely  original,  and  his  tunes 
so  clearly  distinguishable  from  those  of  other 


BACH  THE  COMPOSER  81 

composers.  Provided  that  novelty  does  not  de- 
generate into  eccentricity  or  extravagance,  and 
that  clearness  and  facility  of  expression  march 
with  agreeableness,  a  composer's  meritorious- 
ness  is  proclaimed  in  his  originality.*  The  one 
drawback  is  that  the  ordinary  hearer  cannot 
appreciate  melodic  beauties  which  are  patent 
only  to  the  expert. 

But  Bach's  melodies  are  not  invariably  so  han- 
dicapped. They  are  always  original,  it  is  true. 
But  in  his  free  compositions  the  melodies  are  so 
natural  and  spontaneous  that,  while  they  sound 
differently  from  those  of  other  composers,  their 
naturalness,  and  the  sincerity  of  feeling  that 
inspires  them,  make  them  intelligible  to  every 
listener.  Most  of  the  Preludes  in  the  '  Well- 
tempered  Clavier '  as  well  as  a  number  of  move- 
ments in  the  Suites  are  of  this  character. 

Bach's  melody,  then,  bears  the  unmistakable 
stamp  of  originality.  And  so  does  his  passage 
work,  as  it  is  called.  Such  novelty,  originality, 
and  brilliancy  are  not  found  in  any  other  composer. 
Examples  are  to  be  found  in  all  Bach's  Clavier 
works.  But  the  most  striking  and  original  are  in 

*  Many  people  hold  the  opinion  that  the  best  melody  is  one  which 
the  largest  number  of  persons  can  understand  and  sing.  But  this 
cannot  be  admitted,  for  if  it  were  true,  popular  airs  which  are  sung 
up  and  down  the  country  by  all  classes,  even  the  lowest,  must  be 
accounted  the  finest  and  best.  I  should  be  inclined  to  state  the  pro- 
position conversely  :  a  melody  which  attracts  everybody  is  invariably 
of  the  most  ordinary  kind.  In  that  form  the  statement  might,  perhaps, 
pass  as  a  principle. 


82  JOHANN  SEBASTIAN  BACH 

the  '  Great  Variations,'  1  in  the  first  Part  of  the 
'  Clavier iibung,'  2  in  the  '  English  Suites,'  3  and 
the  *  Chromatic  Fantasia.'  4  In  the  last  particu- 
larly Bach's  fertility  impresses  us.  The  greater 
part  of  its  passage  work  is  in  the  form  of  harmonic 
arpeggios  whose  richness  and  originality  match 
the  chords  they  represent. 

In  order  to  realise  the  care  and  skill  Bach 
expended  on  his  melody  and  harmony,  and  how 
he  put  the  very  best  of  his  genius  into  his  work, 
I  need  only  instance  his  efforts  to  construct 
a  composition  incapable  of  being  harmonised 
with  another  melodic  part.  In  his  day  it  was 
regarded  as  imperative  to  perfect  the  harmonic 
structure  of  part-writing.  Consequently  the  com- 
poser was  careful  to  complete  his  chords  and 
leave  no  door  open  for  another  part.  So  far 
the  rule  had  been  followed  more  or  less  closely  in 
music  for  two,  three,  and  four  parts,  and  Bach 
observed  it  hi  such  cases.  But  he  applied  it  also 
to  compositions  consisting  of  a  single  part,  and  to 
a  deliberate  experiment  in  this  form  we  owe 
the  six  Violin  and  the  six  Violoncello  Solo  Suites,5 

1  Forkel  alludes  to  the  '  Goldberg  Variations '  (P.  bk.  209). 

2  P.  bks.  205,  206.  8  P.  bks.  203,  204. 
*  P.  bk.  207. 

6  Bach  wrote  three  Suites  (Partita)  and  three  Sonatas  for  Solo 
Violin.  They  date  from  about  1720  and  are  in  the  keys  of  G  minor, 
B  minor,  A  minor,  D  minor,  C  major,  and  E  major  (P.  bk.  228).  The 
six  Violoncello  Suites  date  from  the  same  period  and  are  in  G  major, 
D  minor,  C  major,  E  flat  major,  C  minor,  and  D  major  (P.  bks.  238a, 
238b). 


BACH  THE  COMPOSER  83 

which  have  no  accompaniment  and  do  not  require 
one.  So  remarkable  is  Bach's  skill  that  the  solo 
instrument  actually  produces  all  the  notes  required 
for  complete  harmony,  rendering  a  second  part 
unnecessary  and  even  impossible. 

Bach's  melody  never  palls  on  us,  because  of  the 
presence  hi  it  of  those  qualities  to  which  I  have 
referred.  It  remains  '  ever  fair  and  young,' 
like  Nature  herself.  In  his  earlier  works,  in  which 
we  find  him  still  in  bondage  to  the  prevailing 
mode,  there  is  a  good  deal  that  to-day  seems 
antiquated.  But  when,  as  in  his  later  works, 
he  draws  his  melody  from  the  living  wells  of 
inspiration  and  cuts  himself  adrift  from  convention, 
all  is  as  fresh  and  new  as  if  it  had  been  written 
yesterday.  Of  how  many  compositions  of  that 
period  can  the  same  be  said  ?  Even  the  works 
of  ingenious  composers  like  Reinhard  Keiser 1 
and  Handel  have  become  old-fashioned  sooner 
than  we  or  their  composers  might  have  supposed. 
Like  other  caterers  for  the  public,  they  weref 
obliged  to  pander  to  its  taste,  and  such  music 
endures  no  longer  than  the  standard  which 
produced  it.  Nothing  is  more  inconstant  and 
fickle  than  popular  caprice  and,  in  general,  what 
is  called  fashion.  It  must  be  admitted,  however, 
that  Handel's  Fugues  are  not  yet  out  of  date, 

1  Reinhard  Keiser,  b.  1673,  d.  1739 ;  scholar  of  the  Leipzig  Thomas- 
sohule ;  settled  at  Hamburg,  1694  ;  composed  a  number  of  Operas, 
and  for  a  time  had  a  great  vogue. 


84  JOHANN  SEBASTIAN  BACH 

though  there  are  probably  few  of  his  Arias  that 
we  now  find  agreeable.1 

Bach's  melody  and  harmony  are  rendered  still 
more  distinctive  by  their  inexhaustible  rhythmic 
variety.  Hitherto  we  have  discussed  his  music 
merely  subjectively  as  harmony  and  melody.  But 
to  display  vivacity  and  variety  music  needs  to  be 
uttered  with  rhythmic  point  and  vigour.  More 
than  those  of  any  .other  period  composers  of  Bach's 
time  found  no  difficulty  in  this,  for  they  acquired 
facility  in  the  management  of  rhythm  in  the 
'  Suite,'  which  held  the  place  of  our  '  Sonata.' 
Between  the  initial  Prelude  and  closing  Gigue  the 
Suite  includes  a  number  of  characteristic  French 
dance  measures,  whose  rhythm  is  their  distin- 
guishing characteristic.  Composers  of  Bach's  day, 
therefore,  were  familiar  with  measures  and 
rhythms  which  are  now  obsolete.  Moreover  skilful 
treatment  was  necessary  in  order  that  each  dance 
might  exhibit  its  own  distinctive  character  and 
swing.  Herein  Bach  exceeded  his  predecessors 
and  contemporaries.  He  experimented  with  every 
kind  of  key  and  rhythm  in  order  to  give  variety 
and  colour  to  each  movement.  Out  of  his  ex- 
perience he  acquired  such  facility  that,  even  in 

1  It  was  precisely  his  agreeable  operatic  Arias  that  expressed 
Handel's  genius  in  the  eyes  of  his  generation.  With  rare  exceptions 
that  branch  of  his  work  is  obsolete  and  his  cult  survives  mainly  in 
the  'Messiah,'  which  supports  his  quite  posthumous  reputation  as 
'  musician  in  ordinary  to  the  Protestant  religion.'  See  Mr.  R.  A. 
Streatfield's  '  Handel,'  Introduction. 


BACH  THE  COMPOSER  85 

Fugue,  with  its  complex  interweaving  of  several 
parts,  he  was  able  to  employ  a  rhythm  as  easy 
as  it  was  striking,  as  characteristic  as  it  was  sus- 
tained from  beginning  to  end,  as  natural  as  a 
simple  Minuet. 

The  source  of  Bach's  astonishing  pre-eminence 
is  to  be  sought  in  his  facile  and  constant  applica- 
tion of  the  methods  we  have  discussed.  In  what- 
ever form  he  chose  to  express  himself,  easy  or 
difficult,  he  was  successful  and  seemingly  effort- 
less.1 There  is  not  a  note  in  his  music  that  does 
not  suggest  consummate  ease  of  workmanship. 
What  he  sets  out  to  do  he  concludes  triumphantly. 
The  result  is  complete  and  perfect ;  no  one  could 
wish  for  a  single  note  to  be  other  than  it  is.  Some 
illustrations  will  make  my  point  clearer. 

Carl  Philipp  Emmanuel,  in  the  preface  to  his 
father's  '  Vierstimmige  Choralgesange  '  ('  Four- 
part  Hymn- tunes '),  which  he  edited,2  says  that 

1  Schweitzer  advances  the  opinion,  which  may  perhaps  be  challenged, 
that  inevitable  and  natural  as  Bach's  melodies  are,  they  do  not  give 
the  impression  of  '  effortless  invention.'  Bach,  he  holds,  worked  like 
a  mathematician,  who  sees  the  whole  of  a  problem  at  once,  and  has 
only  to  realise  it  in  definite  values.  Hence,  he  agrees  with  Spitta, 
Bach'a  way  of  working  was  quite  different  from  Beethoven's.  With 
Beethoven  the  work  developed  by  means  of  episodes  that  are  inde- 
pendent of  the  theme.  With  Bach  everything  springs  with  mathe- 
matical certainty  from  the  theme  itself.  See  Schweitzer  (i.  21 1)  on 
Bach's  methods  of  working. 

*  Johann  Sebastian  Bach's  '  Vierstimmige  Choralgesange '  were  pub- 
lished in  1765  and  1769.  C.  P.  E.  Bach  was  concerned  only  with  the 
first  volume.  Forkel  perhaps  refers  to  an  edition  of  the  '  Choral- 
gesange '  issued  by  Breitkopf  in  four  parts  at  Leipzig  in  1784,  1786, 
1786,  and  1787,  and  edited  by  C.  P.  E.  Bach. 

' 


86  JOHANN  SEBASTIAN  BACH 

the  world  was  accustomed  to  look  for  nothing  but 
masterpieces  from  Bach.  Some  reviewers  thought 
this  praise  exaggerated.  But  if  the  term  '  master- 
piece '  is  restricted  to  works  written  during  the 
years  of  Bach's  maturity  *•  it  is  nothing  less  than 
the  truth.  Others  have  produced  masterpieces 
in  various  forms  which  may  be  placed  honourably 
by  the  side  of  his.  For  instance,  certain  Alle- 
mandes,  Courantes,  etc.,  by  Handel  and  others  are 
not  less  beautiful,  though  less  richly  wrought,  than 
Bach's.  But  in  Fugue,  Counterpoint,  and  Canon 
he  stands  alone,  in  a  grandeur  so  isolated  that 
all  around  him  seems  desert  and  void.  No  one 
ever  wrote  Fugues  to  compare  with  his ;  indeed, 
persons  unacquainted  with  them  cannot  imagine 
what  a  Fugue  is  and  ought  to  be.  The  ordinary 
Fugue  follows  a  rule  of  thumb  development.  It 
takes  a  theme,  puts  another  beside  it,  passes 
them  into  related  keys,  and  writes  other  parts 
round  them  over  a  Continue.  Certainly  this  is 
Fugue  :  but  of  what  merit  ?  Persons  who  know 
no  other  not  unnaturally  hold  the  whole  species 
in  little  esteem,  and  the  player  who  hopes  to  make 
such  commonplace  material  convincing  will  need 
all  his  skill  and  imagination. 

Bach's  Fugue  is  of  quite  another  kind.    It  pre- 
sents all  the  characteristics  we  are  accustomed  to 

1  Forkel  indicates  the  perjod  1720-1750.  But  in  1720  Bach  had 
already  completed  the  '  Orgelbiichlein '  and  the  greater  part  of  hia 
Organ  works. 


BACH  THE  COMPOSER  87 

in  freer  musical  forms  :  a  flowing  and  distinctive 
melody,  ease,  clarity,  and  facility  in  the  pro- 
gression of  the  parts,  inexhaustible  variety  of 
modulation,  purest  harmony,  the  exclusion  of 
every  jarring  or  unnecessary  note,  unity  of  form 
and  variety  of  style,  rhythm,  and  measure,  and 
such  superabundant  animation  that  the  hearer 
may  well  ask  himself  whether  every  note  is  not 
actually  alive.  Such  are  the  properties  of  Bach's 
Fugues,  properties  which  excite  the  admiration 
and  astonishment  of  all  who  can  appreciate  the 
intellectual  calibre  their  composition  demands. 
How  great  a  tribute  of  homage  is  due  to  work  of 
this  kind,  which  exhibits  all  the  qualities  which 
lend  distinction  to  compositions  in  other  musical 
forms !  Moreover,  while  all  Bach's  Fugues  of  his 
mature  period  have  the  foregoing  properties  in 
common,  each  is  endowed  with  peculiar  excel- 
lencies of  its  own,  has  its  own  distinctive  indi- 
viduality, and  displays  a  melodic  and  harmonic 
scheme  in  keeping  with  it.  The  man  who  can 
play  one  of  Bach's  Fugues  is  familiar  with,  and  can 
play,  one  only  ;  whereas  knowing  one,  we  can 
perform  portfolios  of  Fugues  by  other  performers 
of  Bach's  period. 

To  what  a  height  was  the  art  of  Counterpoint 
carried  by  Bach's  genius!  It  enabled  him  to 
develop  out  of  a  given  subject  a  whole  family  of 
related  and  contrasted  themes,  of  every  form  and 
design.  It  taught  him  to  develop  an  idea  logically 


88  JOHANN  SEBASTIAN  BACH 

from  the  beginning  to  the  end.  It  gave  him  such 
a  command  of  harmony  and  its  infinite  combina- 
tions that  he  could  invert  whole  themes,  note  by 
note,  in  every  part,  without  impairing  in  the  least 
the  flow  of  melody  or  purity  of  his  harmony.  It 
taught  him  to  write  in  canon  at  all  intervals  and 
in  movements  of  all  kinds  so  easily  and  naturally 
that  the  workmanship  is  not  perceptible  and  the 
composition  sounds  as  smoothly  as  though  it  were 
in  the  free  style.  Lastly,  it  has  given  to  posterity 
a  legacy  of  works  immensely  various,  which  are, 
and  will  remain,  models  of  contrapuntal  form  as 
long  as  music  endures.* 

I  have  written  exclusively  so  far  of  Bach's 
Clavier  and  Organ  work.  But  in  its  expression 
music  has  two  branches,  instrumental  and  vocal, 
and  as  Bach  excels  in  both  of  them,  the  reader 
will  desire  to  hear  somewhat  respecting  his  vocal 
writings. 

It  was  at  Weimar  that  Bach  first  had  occasion 
to  write  for  the  voice,1  upon  his  appointment  to 

*  There  are  people  who  conclude  that  Bach  merely  perfected  harmony. 
But  if  we  realise  what  harmony  ia,  a  means  to  extend  and  emphasise 
musical  expression,  we  cannot  imagine  it  apart  from  melody.  And 
when,  as  in  Bach's  case,  harmony  is  actually  an  association  of  melodies, 
such  a  view  becomes  the  more  ridiculous.  It  might  perhaps  be  reason- 
able to  say  of  a  composer  that  his  influence  was  restricted  to  the 
sphere  of  melody,  because  we  may  get  melody  without  harmony.  But 
there  cannot  be  real  harmony  without  melody.  Hence  the  composer 
who  has  perfected  harmony  has  influenced  the  whole,  whereas  the 
melodist  has  left  his  mark  only  on  a  fraction  of  his  art. 

1  As  has  been  pointed  out  already  (supra,  p.  14)  Bach's  earliest 
church  Cantatas  date  from  the  Arnstadt  period. 


BACH  THE  COMPOSER  89 

the  Kapelle,  which  imposed  on  him  the  provision 
of  music  for  the  ducal  chapel.  His  church  music, 
like  his  Organ  works,  is  devout  and  serious,  and 
in  every  respect  what  church  music  ought  to  be. 
He  makes  a  point  also  of  not  elaborating  individual 
words,  which  leads  to  mere  trifling,  but  interprets 
the  text  as  a  whole.1  His  choruses  invariably  are 
magnificent  and  impressive,  and  he  frequently 
introduces  Chorals  into  them,2  making  the  other 
parts  accompany  their  Cantus  fugally,  as  was  the 
practice  in  a  Motet.  As  elsewhere  in  his  works, 
the  harmonic  structure  of  his  voice  parts  and 
instrumental  accompaniment  is  rich.  The  de- 
clamation of  the  recitatives  is  expressive,  and  the 
latter  have  fine  Continue  parts.3  In  his  Arias, 
hardly  one  of  which  is  not  beautiful  and  expres- 
sive, Bach  seems  to  have  been  handicapped  by 
the  inefficiency  of  his  singers  and  instrumentalists, 
who  constantly  complained  of  the  difficulty  of  his 
music.  If  he  had  been  fortunate  enough  to  have 
capable  performers  the  merits  of  his  church  music 

1  The  statement  certainly  needs  a  caveat.  No  composer  of  his 
period  studied  his  text  more  closely  or  reverently  than  Bach.  No 
one,  on  the  other  hand,  was  more  readily  fired  by  a  particular  word 
or  image  in  his  text  to  give  it  sometimes  irrelevant  expression. 

•  Of  Bach's  church  Cantatas  206  have  survived.  In  only  22  of  them 
does  Bach  fail  to  introduce  movements  based  upon  the  Lutheran 
Chorals. 

3  We  must  attribute  to  Forkel's  general  ignorance  of  Bach's  concerted 
church  music  his  failure  to  comment  upon  a  much  more  remarkable 
feature  of  the  recitatives,  namely,  their  unique  treatment  of  the 
human  voice  as  a  declamatory  medium,  a  development  as  remark- 
able as  Wagner's  innovations  in  operatic  form  a  century  later. 


90  JOHANN  SEBASTIAN  BACH 

would  have  been  established  and,  like  his  other 
works,  they  would  still  be  sung  and  admired  ;  for 
they  contain  treasures  which  deserve  immortality.1 

Among  the  works  composed  at  Leipzig  I  single 
out  two  Cantatas,  one  of  which  was  performed  at 
Cb'then  at  the  funeral  of  Bach's  beloved  Prince 
Leopold,  and  the  other  in  St.  Paul's  Church, 
Leipzig,  on  the  occasion  of  the  funeral  sermon  in 
honour  of  Christiana  Eberhardine,  Queen  of 
Poland  and  Electress  of  Saxony.2  The  first 
contains  double  choruses  of  uncommon  magni- 
ficence and  most  affecting  sentiment.3  The  second 
has  only  four-part  choruses,  but  they  are  so  de- 
lightful and  fresh  that  he  who  begins  the  work 
will  not  pause  till  he  has  reached  the  end  of  it. 
It  was  written  in  October  1727. 

Bach  also  composed  a  great  number  of  Cantatas, 
chiefly  for  the  choir  of  St.  Thomas'  School,  Leipzig.4 

1  It  was  not  the  imperfections  of  the  choir  but  the  indifference  of 
Bach's  successors  at  St.  Thomas',  Leipzig,  that  was  chiefly  responsible 
for  the  neglect  of  his  Cantatas  in  the  latter  half  of  the  eighteenth 
century.     Johann  Friedrich  Doles  (1715-89)  was  the  only  Cantor  who 
realised  the  greatness  of  his  predecessor's  concerted  church  music. 

2  The  '  Trauer-Ode '  was  performed  on   October  17,  1727.      Bach 
finished  the  score  two  days  before  the  performance !     A  parallel  case 
is  that  of  Mozart,  who  finished  the  overture  of  '  Don  Giovanni '  on  the 
morning  of  the  first  performance  of  the  Opera,  and  actually  played 
it  unrehearsed  that  evening. 

3  It  has  been  pointed  out  already  that  Bach  used  the  '  St.  Matthew 
Passion  '  music,  set  to  other  words,  for  the  occasion.     No.  26  ('  I  would 
beside  my  Lord  be  watching ')  was  sung  to  the  words  '  Go,  Leopold, 
to  thy  rest ' ! 

4  Of  the  206  surviving  Cantatas,  172  were  written  for  the  Leipzig 
choir. 


BACH  THE  COMPOSER  91 

The  choir  ordinarily  numbered  fifty  singers,  and 
sometimes  more,  over  whose  musical  training 
Bach  presided  like  a  father.  He  practised  them 
so  hard  in  Cantatas  for  single  and  double  chorus 
that  they  became  excellent  singers.  Among  these 
works  are  some  which,  hi  profundity  of  conception, 
magnificence,  richness  of  harmony  and  melody, 
and  animation,  surpass  everything  of  their  kind. 
But,  like  all  Bach's  works,  and  in  common  with 
other  masterpieces,  they  are  difficult  to  perform 
and  need  a  numerous  orchestra  to  produce  their 
full  effect. 

Such  are  Bach's  most  important  vocal  com- 
positions.1 In  minor  forms  of  the  art,  morceaux 
for  social  entertainments  and  the  like,  he  wrote 
little,2  though  he  was  of  a  most  sociable  dis- 
position. For  instance,  he  is  said  never  to  have 
composed  a  song.3  And  why  should  he  ?  They 
produce  themselves  so  spontaneously  that  there  is 
little  call  for  genius  to  aid  their  gestation. 

1  Forkel's  knowledge  is  very  incomplete. 

2  Elsewhere  Forkel  mentions  only  one  of  the  secular  Cantatas. 

8  There  is  a  tradition  that  Bach  wrote  a  comic  song,  '  Ihr  Schonen, 
horet  an,'  which  was  widely  current  about  the  time  of  his  death  (Spitta, 
iii.  181  n.).  The  Aria,  '  So  oft  ich  meine  Tabakspfeife,'  in  A.  M. 
Bach's  '  Notenbuch '  of  1725,  should  be  mentioned.  See  B.  G.  xxxix. 
sec.  4. 


CHAPTER  VII 

BACH   AS   A   TEACHER 

IT  not  infrequently  happens  that  talented  com- 
posers and  players  are  incapable  of  imparting  their 
skill  to  others.  Either  they  have  never  troubled 
to  probe  the  mechanism  of  their  own  facility,  or, 
through  the  excellence  of  their  instructors,  have 
taken  the  short  cut  to  proficiency  and  allowed 
their  teacher  and  not  their  own  judgment  to  decide 
how  a  thing  should  be  done.  Such  people  are 
useless  to  instruct  beginners.  True,  they  may 
succeed  in  teaching  the  rudiments  of  technique, 
assuming  that  they  have  been  properly  taught 
themselves.  But  they  are  certainly  unqualified 
to  teach  in  the  full  sense  of  the  word.  There  is, 
in  fact,  only  one  way  to  become  a  good  teacher, 
and  that  is  to  have  gone  through  the  discipline 
of  self-instruction,  a  path  along  which  the  be- 
ginner may  go  astray  a  thousand  times  before 
attaining  to  perfection.  For  it  is  just  this  stumb- 
ling effort  that  reveals  the  dimensions  of  the  art. 
The  man  who  has  adventured  it  learns  the  obstacles 
that  obstruct  his  path,  and  how  to  surmount  them. 
To  be  sure,  it  is  a  lengthy  method.  But  if  a  man 


JOHANN   SEBASTIAN    BACH. 

(From  the  picture  disordered  ly  Professor  Fritz  Vollach.) 


BACH  AS  A  TEACHER  93 

has  patience  to  persevere  he  will  reap  a  sure  reward 
after  an  alluring  pilgrimage.  No  musician  ever 
founded  a  school  of  his  own  who  has  not  fol- 
lowed such  a  course,  and  to  his  experience  his 
teaching  has  owed  its  distinctive  character. 

This  is  so  with  Bach,  who,  only  gradually  dis- 
covering his  full  stature,  was  thirty  years  old 
before  unremitting  application  raised  him  above 
the  difficulties  of  his  art.  But  he  reaped  his 
reward.  Self -discipline  set  him  on  the  fairest  and 
most  alluring  path  that  it  has  ever  been  given  to 
a  musician  to  tread. 

To  teach  well  a  man  needs  to  have  a  full  mind. 
He  must  have  discovered  how  to  meet  and  have 
overcome  the  obstacles  in  his  own  path  before 
he  can  be  successful  in  teaching  others  how  to 
avoid  them.  Bach  united  both  qualities.  Hence, 
as  a  teacher  he  was  the  most  instructive,  clear, 
and  definite  that  has  ever  been.  In  every  branch 
of  his  art  he  produced  a  band  of  pupils  who 
followed  in  his  footsteps,  without,  however, 
equalling  his  achievement. 

First  of  all  let  me  show  how  he  taught  the 
Clavier.1  To  begin  with,  his  pupils  were  made  to 
acquire  the  special  touch  of  which  I  have  already 
spoken.2  To  that  end  for  months  together  he 
made  them  practise  nothing  but  simple  exercises 

1  Bach's  method  has  come  down  to  us  in  treatises  by  two  of  his 
pupils,  C.  P.  E.  Bach's  '  Essay '  and  Kirnberger's  '  Die  Kunst  des 
reinen  Satzes  in  der  Musik,'  to  which  reference  has  been  made  already. 

8  Supra,  p.  50. 


94  JOHANN  SEBASTIAN  BACH 

for  the  fingers  of  both  hands,  at  the  same  time 
emphasising  the  need  for  clearness  and  distinctness. 
He  kept  them  at  these  exercises  for  from  six  to 
twelve  months,  unless  he  found  his  pupils  losing 
heart,  in  which  case  he  so  far  met  them  as  to  write 
short  studies  which  incorporated  a  particular 
exercise.  Of  this  kind  are  the  '  Six  Little  Pre- 
ludes for  Beginners,'  1  and  the  '  Fifteen  Two- 
part  Inventions,'  2  both  of  which  Bach  wrote 
during  the  lesson  for  a  particular  pupil  and  after- 
wards improved  into  beautiful  and  expressive 
compositions.  Besides  this  finger  practice,  either 
in  regular  exercises  or  in  pieces  composed  for  the 
purpose,  Bach  introduced  his  pupils  to  the  use 
of  the  various  ornaments  in  both  hands. 

Not  until  this  stage  was  reached  did  Bach  allow 
his  pupils  to  practise  his  own  larger  works,  so 
admirably  calculated,  as  he  knew,  to  develop  their 
powers.  In  order  to  lessen  their  difficulty,  it 
was  his  excellent  habit  to  play  over  to  them  the 
pieces  they  were  to  study,  with  the  remark, 
'  That 's  how  it  ought  to  sound.'  3  It  would  be 
difficult  to  exaggerate  the  helpfulness  of  this 
method.  The  pupil's  interest  was  roused  by  hear- 
ing the  piece  properly  played.  But  that  was  not 

1  Bach  wrote  eighteen  Preludes  for  Beginners.     They  are  all  in 
P.  bk.  200. 

2  Most  of  these  movements,  which  Bach  called  indifferently  '  Inven- 
tions '   (ideas)  and   '  Praeambula '   (Preludes),  were  written  in  1723. 
They  are  in  P.  bk.  201. 

3  Heinrich  Nikolaus  Gerber,  who  was  Bach's  pupil  from  1724  to  1727, 
particularly  emphasises  this  feature  of  Bach's  teaching. 


BACH  AS  A  TEACHER  95 

the  sole  result.  Without  the  help  thus  given 
the  pupil  could  only  hope  to  overcome  the  dif- 
ficulties of  the  piece  after  considerable  effort, 
and  would  find  it  much  less  easy  to  realise  a  proper 
rendering  of  it.  As  it  was,  he  received  at  once  an 
ideal  to  aim  at  and  was  taught  how  to  surmount 
the  difficulties  the  piece  presented.  Many  a 
young  performer,  still  imperfect  after  a  year's 
practice,  probably  would  master  his  music  in  a 
month  if  he  once  had  it  played  over  to  him. 

Bach's  method  of  teaching  composition  was 
equally  sure  and  effective.1  He  did  not  begin 
with  the  dry  details  of  counterpoint,  as  was  the 
custom  of  other  teachers  in  his  day.  Still  less 
did  he  burden  his  pupils  with  the  physical  pro- 
perties of  sound,  which  he  held  to  be  matter  for 
the  theorist  and  instrument-maker  rather  than 
the  composer.  He  started  them  off  at  once  on 
four-part  harmony  over  a  figured  Bass,  making 
his  pupils  write  each  part  on  a  separate  stave  in 
order  to  impress  on  them  the  need  for  accurate 
harmonic  progression.  Then  he  passed  to  Hymn 
tunes,  setting  the  Bass  himself  and  making  his 
pupils  write  the  Tenor  and  Alto  parts.  In  time 
he  let  them  write  the  Bass  also.  He  insisted  on 
correct  harmony  and  on  each  part  having  a  real 
melodic  line.  Every  musician  knows  what  models 

1  See  on  the  whole  matter  Spitta,  iii.  117  ff.  Bach's  method  is 
illustrated  by  his  '  Rules  and  Instructions '  (1738)  printed  by  Spitta, 
iii.  315  ff.,  and  also  by  the  '  Einige  hochst  nothinge  Regeln '  at  the 
end  of  A.  M.  Badh's  '  Notenbuch  '  (1725). 


96  JOHANN  SEBASTIAN  BACH 

Bach  has  left  us  in  this  form.  The  inner  parts  of 
his  four-part  Hymn-tunes  are  so  smooth  and 
melodious  that  often  they  might  be  taken  for  the 
melody.  He  made  his  pupils  aim  at  similar  tune- 
fulness, and  until  they  showed  a  high  standard 
of  merit  did  not  permit  them  to  write  compositions 
of  their  own.  Meanwhile  he  aimed  at  cultivating 
their  feeling  for  pure  harmony  and  for  the  order 
and  connection  of  ideas  and  parts  by  familiarising 
them  with  the  compositions  of  others.  Until  they 
had  acquired  facility  hi  those  qualities  he  neither 
permitted  them  nor  held  them  competent  to  put 
pen  to  paper. 

Bach  required  his  pupils  in  composition  to  work 
out  their  musical  ideas  mentally.  If  any  of  them 
lacked  this  faculty  he  admonished  him  not  to 
compose  and  discountenanced  even  his  sons  from 
attempting  to  write  until  they  had  first  given 
evidence  of  genuine  musical  gifts.  Having  com- 
pleted their  elementary  study  of  harmony,  Bach 
took  his  pupils  on  to  the  theory  of  Fugue,  beginning 
with  two-part  writing.  In  these  and  other  exer- 
cises he  insisted  on  the  pupil  composing  away 
from  the  Clavier.1  Those  who  did  otherwise  he 

1  Mozart  wrote  as  follows  to  a  correspondent  who  asked  him  what 
his  method  of  composition  was :  '  I  can  really  say  no  more  on  this 
subject  than  the  following ;  for  I  myself  know  no  more  about  it,  and 
cannot  account  for  it.  When  I  am,  as  it  were,  completely  myself, 
entirely  alone,  and  of  good  cheer — say,  travelling  in  a  carriage,  or 
walking  after  a  good  meal,  or  during  the  night  when  I  cannot  sleep ; 
it  is  on  such  occasions  that  my  ideas  flow  best  and  most  abundantly. 
Whence  and  how  they  come,  I  know  not ;  nor  can  I  force  them.  Those 


BACH  AS  A  TEACHER  97 

ridiculed  as  '  Harpsichord  Knights.'  In  the  second 
place  he  required  rigorous  attention  to  each  part 
and  its  relation  to  the  concurrent  parts,  permitting 
none,  not  even  an  inner  one,  to  break  off  before 
it  had  finished  what  it  had  to  say.  He  insisted 
upon  a  correct  relation  between  each  note  and  its 
predecessor.  If  he  came  upon  one  whose  deriva- 
tion or  destination  was  not  perfectly  clear  he 
struck  it  out  as  faulty.  It  is,  indeed,  a  meticulous 
exactitude  in  each  individual  part  that  makes 


ideas  that  please  me  I  retain  in  memory,  and  am  accustomed,  as  I 
have  been  told,  to  hum  them  to  myself.  If  I  continue  in  this  way, 
it  soon  occurs  to  me  how  I  may  turn  this  or  that  morsel  to  account, 
so  as  to  make  a  good  dish  of  it,  that  is  to  say,  agreeably  to  the  rules 
of  counterpoint,  to  the  peculiarities  of  the  various  instruments,  etc. 
All  this  fires  my  soul,  and,  provided  I  am  not  disturbed,  my  subject 
enlarges  itself,  becomes  methodised  and  defined,  and  the  whole, 
though  it  be  long,  stands  almost  complete  and  finished  in  my  mind,  so 
that  I  can  survey  it,  like  a  fine  picture  or  a  beautiful  statue,  at  a 
glance.  Nor  do  I  hear  in  my  imagination  the  parts  successively,  but 
I  hear  them,  as  it  were,  all  together.  What  a  delight  this  is  I  cannot 
tell !  .  .  .  When  I  proceed  to  write  down  my  ideas,  I  take  out  of  the 
bag  of  my  memory,  if  I  may  use  that  phrase,  what  has  previously  been 
collected  into  it  in  the  way  I  have  mentioned.  For  this  reason  the 
committing  to  paper  is  done  quickly  enough,  for  everything  is,  as  I 
said  before,  already  finished  ;  and  it  rarely  differs  on  paper  from  what 
it  was  in  my  imagination  '  (Life,  ed.  Dent,  p.  255). 

Wagner,  writing  in  1851  to  Uhlig,  who  could  not  understand  how 
the  libretto  of  '  Young  Siegfried  '  could  be  set  to  music,  expresses  the 
same  idea  as  Mozart :  '  What  you  cannot  possibly  imagine  is  a-making 
of  itself !  I  tell  you,  the  musical  phrases  build  themselves  on  these 
verses  and  periods  without  my  having  to  trouble  at  all ;  everything 
springs  as  if  wild  from  the  ground '  (Life,  trans.  Ellis,  iii.  p.  243). 

Schumann  writes  in  1839 :    '  I  used  to  rack  my  brains  for  a  long 
time,  but  now  I  scarcely  ever  scratch  out  a  note.     It  all  comes  from 
within,  and  I  often  feel  as  if  I  could   go  on  playing  without  ever 
coming  to  an  end '  (Grove,  vol.  iv.  p.  353). 
G 


98  JOHANN  SEBASTIAN  BACH 

Bach's  harmony  really  multiple  melody.  Con- 
fused part-writing,  where  a  note  that  belongs  to 
the  Tenor  is  given  to  the  Alto,  or  vice  versa,  or 
the  haphazard  addition  of  extraneous  parts  to  a 
chord  which  suddenly  shows  an  increase  of  notes 
as  if  fallen  from  the  sky,  to  vanish  as  suddenly 
as  they  came,  are  faults  found  neither  in  his  own 
nor  his  pupils'  writing.  He  regarded  his  musical 
parts  as  so  many  persons  engaged  in  conversation. 
If  there  are  three,  each  of  them  on  occasion  may 
be  silent  and  listen  to  the  others  until  it  finds 
something  relevant  to  say  itself.  But  if,  at  an  in- 
teresting point  of  the  conversation,  an  interloping 
voice  intervened,  Bach  regarded  it  as  an  intruder 
and  let  his  pupils  understand  that  it  could  not  be 
admitted. 

Notwithstanding  his  strictness  on  this  point, 
Bach  allowed  his  pupils  considerable  licence  in 
other  respects.  In  their  use  of  certain  intervals, 
as  in  their  treatment  of  harmony  and  melody,  he 
let  them  experiment  within  the  limits  of  their 
ability,  taking  care  to  discountenance  ugliness  and 
to  insist  on  their  giving  appropriate  expression  to 
the  character  of  the  composition.  Beauty  of  ex- 
pression, he  postulated,  was  only  attainable  on  a 
foundation  of  pure  and  accurate  harmony.  Having 
experimented  in  every  form  himself,  he  liked  to 
see  his  pupils  equally  adventurous.  Earlier 
teachers  of  composition,  for  instance,  Berardi,1 

1  Angelo  Berardi's  'Document!  armonici.      Nelli  quali   con  varii 


BACH  AS  A  TEACHER  99 

Buononcini,1  and  Fux,2  did  not  allow  such  liberty. 
They  were  afraid  to  trust  their  pupils  to  encounter 
difficulties,  and  short-sightedly  prevented  them 
from  learning  how  to  overcome  them.  Bach's 
system  was  wiser,  for  it  took  his  pupils  farther, 
since  he  did  not  limit  their  attention,  as  his  pre- 
decessors did,  to  the  harmonic  structure,  but  ex- 
tended it  to  the  qualities  that  constitute  good 
writing,  namely,  consistency  of  expression,  variety 
of  style,  rhythm,  and  melody.  Those  who  would 
acquaint  themselves  with  Bach's  method  of  teach- 
ing composition  will  find  it  fully  set  forth  in 
Kirnberger's  '  Correct  Art  of  Composition.'  3 

As  long  as  his  pupils  were  under  his  instruction 
Bach  did  not  allow  them  to  study  any  but  his 
own  works  and  the  classics.  The  critical  sense, 
which  permits  a  man  to  distinguish  good  from 
bad,  develops  later  than  the  aesthetic  faculty  and 
may  be  blunted  and  even  destroyed  by  frequent 
contact  with  bad  music.  The  best  way  to  in- 
struct youth  is  to  accustom  it  early  to  consort 
with  the  best  models.  '  Time  brings  experience 
and  an  instructed  judgment  to  confirm  the  pupil's 
early  attraction  to  works  of  true  art. 

discorsi,  regole,  ed  essempii  si  dimonstrano  gli  studii  arteficiosi  della 
musica '  was  published  at  Bologna  in  1687. 

1  Giovanni  Maria  Buononcini,  b.  c.  1640,  d.  1678  ;  Maestro  di  Capella 
at  Modena ;    published  his   '  Musico  prattico '  at  Bologna  in  1673, 
1688. 

2  Johann  Joseph  Fux,  b.  1660,  d.  1741 ;  Kapellmeister  at  Vienna ; 
published  his  '  Gradus  ad  Parnassum  '  at  Vienna  in  1725. 

3  See  supra,  p.  74. 


100         JOHANN  SEBASTIAN  BACH 

Under  this  admirable  method  of  teaching  all 
Bach's  pupils  became  distinguished  musicians, 
some  more  so  than  others,  according  as  they  came 
early  or  late  under  his  influence,  and  had  oppor- 
tunity and  encouragement  to  perfect  and  apply 
the  instruction  they  received  from  him.  His 
two  eldest  sons,  Wilhelm  Friedemann  and  Carl 
Philipp  Emmanuel,  were  his  most  distinguished 
pupils,  not  because  he  gave  them  better  instruc- 
tion than  the  rest,  but  because  from  their  earliest 
youth  they  were  brought  up  amid  good  music  at 
home.  Even  before  they  began  their  lessons  they 
knew  what  was  good.  On  the  other  hand,  others, 
before  they  became  Bach's  pupils,  either  had 
heard  no  good  music  or  their  taste  had  been 
already  vitiated  by  contact  with  bad.  It  at  least 
attests  the  excellence  of  Bach's  method  that  even 
his  pupils  thus  handicapped  took  high  rank  hi 
their  profession  and  distinguished  themselves  in 
one  or  other  of  its  branches.* 

Bach's  first  pupil  was  JOHANN  CASPAR  VOGLEB, 
who  received  instruction  from  him  in  his  early 
days  at  Arnstadt  and  Weimar  and,  on  Bach's 
testimony,  was  an  exceedingly  able  player.  He 
became  organist,  and  later  burgomaster,  at  Weimar, 
retaining  his  professional  position.  Some  Choral 

*  I  speak  here  only  of  those  pupils  who  made  music  their  profession. 
But,  besides  these,  Bach  had  a  great  many  other  pupils.  Every 
dilettante  in  the  neighbourhood  desired  to  boast  of  the  instruction  of 
so  great  and  celebrated  a  man.  Many  gave  themselves  out  to  have 
beenjhis  pupils  who  had  never  been  taught  by  him. 


BACH  AS  A  TEACHER  101 

Preludes  by  him  for  a  two-manualed  Organ  with 
pedals  were  engraved  about  1737.1 

Other  pupils  of  Bach  who  became  famous 
were : 

1.  HOMILIUS,  of  Dresden.     He  was  not  only  an 
excellent  organist  but  a  distinguished  composer 
of  church  music  as  well.2 

2.  TRANSCHEL,    of   Dresden.     He   was    a   fine 
musician  and  performer  on  the  Clavier.     There 
exist  in  MS.  six  Polonaises  by  him  which  perhaps 
are  superior  to  those  of  any  composer  but  Wilhelm 
Friedemann  Bach.3 

3.  GOLDBERG,  of  Konigsberg.     He  was  a  very 
finished  player  on  the  Clavier,  but  without  any 
marked  talent  for  composition.4 

4.  KREBS,  Organist  at  Altenburg.     He  was  not 
only  a  player  of  the  first  rank,  but  also  a  prolific 
composer  for  the  Organ,  Clavier,  and  of  church 
music.     He  was  fortunate  in  having  Bach's  in- 
struction for  nine  years.5 

1  See  Spitta,  i.  522  ;  Schweitzer,  i.  214  for  further  details  regarding 
Vogler,  who  died  circ.  1766. 

2  Gottfried  August  Homilius,  b.  1714,  d.  1785 ;  pupil  of  Bach,  circ. 
1735.     Cantor  of  the  Kreuzschule,  Dresden. 

3  Christoph  Transchel  (1721-1800)  taught  music  at  Leipzig  and 
Dresden  ;  Bach's  pupil  and  friend,  circ.  1742.     See  Spitta,  iii.  245. 

*  Johann  Gottlieb  (or  Theophilus)  Goldberg,  clavicenist  to  Count 
Kaiserling  (infra,  p.  119)  for  whom  Bach  wrote  the  so-called  '  Goldberg 
Variations.'  He  was  born  circ.  1720  and  was  a  pupil  of  Bach  from 
1733-46. 

6  Johann  Ludwig  Krebs,  b.  1713,  d.  1780 ;  Bach's  pupil,  1726-35. 
Bach  said  of  him  that  he  was  '  the  best  crab  (Krebs)  in  the  brook 
(Bach).' 


102         JOHANN  SEBASTIAN  BACH 

5.  ALTNIKOL,  Organist  at  Naumburg.     He  was 
Bach's  son-in-law  and  is  said  to  have  been  a  very 
competent  player  and  composer.1 

6.  AGRICOLA,  Court  Composer  at  Berlin.2    He 
is  less  known  as  a  composer  than  as  a  theorist. 
He  translated  Tosi's  3  '  II  canto  figurato '  from 
Italian  into  German  and  provided  the  work  with 
an  instructive  commentary. 

7.  MUTHEL,  of  Riga.     He  was  a  good  Clavier 
player    and    wrote    for    that    instrument.      His 
Sonatas  and  a  Duet  for  two  Claviers  attest  his 
ability  as  a  composer.4 

8.  KiRNBERGER,5  Court  Musician  at  Berlin  to 
the  Princess  Amalia  of  Prussia.6     He  was  one  of 
the  most  distinguished  of  Bach's  pupils,  full  of 
genuine  enthusiasm  for  his  art  and  eager  to  assure 
its  interests.     Besides  his  exposition   of   Bach's 
system  of  teaching  composition,  we  are  indebted 
to  him  for  the  first  logical  treatise  on  harmony, 
in  which  he  sets  forth  his  master's  teaching  and 

1  Johann  Christoph  Altnikol,  d.  1769. 

2  Johann  Friedrich  Agricola,  b.   1720,  d.   1774 ;    pupil  of  Bach 
circ.  1738-41 ;  Director  of  the  Royal  Chapel,  Berlin. 

3  Pier  Francesco  Tosi,  b.  circ.  1650;    singing  master  in  London. 
His  '  Opinioni  de'  cantori  antichi  e  moderni,  o  sieno  osservazioni  sopra 
il  canto  figurato  '  was  published  at  Bologna  in  1723. 

*  Johann  Gottfried  Miithel,  b.  circ.  1720,  d.  circ.  1790 ;    pupil  of 
Bach  in  1750  and  resident  in  his  house  at  the  time  of  his  death ; 
organist  of  the  Lutheran  Church,  Riga. 

6  Johann  Philipp  Kirnberger,  b.  1721,  d.  1783  ;  Bach's  pupil,  1739-41. 

•  Louisa  Amalia,  of  Brunswick-Wolfenbiittel,  wife  of  Frederick  the 
Great's  brother,  and  mother  of  his  successor,  Frederick  William  n. 
(1786-97). 


BACH  AS  A  TEACHER  103 

practice.  The  first  work  is  entitled  '  Kunst  des 
reinen  Satzes,'  and  the  second,  '  Wahre  Grund- 
satze  zum  Gebrauch  der  Harmonic.' 1  He  served 
the  interests  of  his  art  also  by  other  writings  and 
compositions,  and  was  an  excellent  teacher.  The 
Princess  Amalia  was  his  pupil. 

9.  KITTEL,  Organist  at  Erfurt.     He  is  a  sound, 
though  not  a  finished,  player,  and  is  distinguished 
as  a  composer  by  several  Organ  Trios,  so  excellent 
that  Bach  himself  might  have  written  them.     He 
is  the  sole  survivor  (1802)  of  Bach's  pupils.2 

10.  VOIGT,  of  Anspach,3  and  an  organist  named 
SCHUBART  4  were  mentioned  to  me  by  Carl  Philipp 
Emmanuel   as  having  been   Bach's  pupils.     He 
knew    nothing    about    them    except    that    they 
entered  his  father's  house  after  he  left  it.5 

1  The  second  work  was  published  in  1773  at  Berlin.     For  the  first, 
see  supra,  p.  74. 

2  Johann  Christian  Kittel,  b.  1732,  d.  1809 ;   one  of  Bach's  latest 
pupils ;    Organist  of  the  Predigerkirche,  Erfurt.     He  is  said  to  have 
possessed  a  portrait  of  his  master  and  to  have  rewarded  his  pupils  for 
good  playing  by  drawing  the  curtain  which  usually  covered  the  picture 
and  permitting  them  to  look  upon  it.     It  is,  perhaps,  the  portrait, 
recently  discovered  by  Dr.  Fritz  Volbach,  which  is  reproduced  at  p.  92 
of  this  volume. 

8  Nothing  seems  to  be  known  of  him. 

4  Johann  Martin  Schubart  succeeded  Bach  at  Weimar  in  1717.  He 
was  born  in  1690  and  died  in  1721.  See  Spitta,  L  343. 

6  In  addition  to  those  mentioned  by  Forkel,  the  following  pupils  of 
Bach  are  known:  Johann  Gotthilf  Ziegler,  of  St.  Ulrich's  Church, 
Halle ;  J.  Bernhard  Bach,  of  Ohrdruf ;  Heinrich  Nikolaus  Gerber, 
Organist  at  Sondershausen ;  Samuel  Anton  Bach,  of  Meiningon ; 
Johann  Ernst  Bach,  of  Saxe-Weimar  ;  Johann  Elias  Bach,  Cantor  at 
Schweinfurt ;  Johann  Tobias  Krebs,  organist  at  Buttelstadt,  and  his 
sons,  Johann  Ludwig,  Johann  Tobias,  and  Johann  Carl ;  Johann 


104          JOHANN  SEBASTIAN  BACH 

I  have  said  already  that  Bach's  sons  were  his 
most  distinguished  pupils.  The  eldest,  WILHELM 
FRIEDEMANN  BACH,  came  nearest  to  his  father 
in  the  originality  of  his  genius.  His  melodies 
have  quite  a  different  character  from  those  of 
other  composers.  They  are  exceedingly  clever, 
elegant,  and  spontaneous.  When  performed  with 
delicacy,  as  he  played  them,  they  cannot  fail  to 
charm  every  hearer.  It  is  greatly  to  be  regretted 
that  he  preferred  to  follow  his  fancy  in  extemporisa- 
tion and  to  expend  his  genius  on  fugitive  thoughts 
rather  than  to  work  them  out  on  paper.  The 
number  of  his  compositions  therefore  is  small, 
but  all  are  beautiful. 

CARL  PHILIPP  EMMANUEL  BACH,  who  comes 
next,  went  out  into  the  world  sufficiently  early 
to  discover  that  it  is  a  good  thing  for  a  composer 
to  have  a  large  public  behind  him.  Hence,  hi 
the  clearness  and  easy  intelligibility  of  his  com- 
positions, he  approaches  the  popular  style,  though 
he  scrupulously  avoids  the  commonplace.1  Both 
he  and  his  elder  brother  admitted  that  they  were 


Schneider,  organist  of  St.  Nicolas',  Leipzig  ;  Georg  Friedrich  Einicke, 
Cantor  at  Frankenhausen ;  Johann  Friedrich  Doles,  Bach's  second 
successor  in  the  Cantorate  of  St.  Thomas' ;  Rudolph  Straube,  who 
afterwards  settled  in  England ;  Christoph  Nichelmann,  cembalist  to 
Frederick  the  Great ;  Christian  Grabner,  and  Carl  Hartwig. 

For  full  information  upon  Bach's  pupils  see  Spitta,  i.  522  ff.,  ii.  47  fi., 
iii.  116  ff.,  239  ff.,  and  the  relative  articles  in  Grove's  '  Dictionary.' 

1  Forkel  does  not  do  justice  to  his  friend.  C.  P.  E.  Bach  is  recog- 
nised as  the  immediate  precursor  of  Haydn  and  as  the  link  between 
the  latter  and  J.  S.  Bach. 


BACH  AS  A  TEACHER  105 

driven  to  adopt  a  style  of  their  own  by  the  wish 
to  avoid  comparison  with  their  incomparable 
father. 

JOHANN  CHBISTOPH  FRIEDRICH  BACH,  Con- 
certmeister  at  the  Court  of  Biickeburg,  imitated 
Carl  Philipp's  style,  but  was  not  his  equal. 
According  to  Wilhelm  Friedemann,  he  was  the 
best  player  among  the  brothers,  and  the  most 
effective  performer  of  their  father's  Clavier  com- 
positions. 

JOHANN  CHRISTIAN  BACH,  called  '  Bach  of 
Milan,'  and  afterwards  '  Bach  of  London,'  was 
the  youngest  son  of  Bach's  second  marriage  and 
of  too  tender  an  age  when  his  father  died  ever  to 
have  had  lessons  from  him.  Hence,  perhaps, 
the  absence  of  Bach's  style  in  his  music.  He  was, 
in  fact,  a  popular  composer  universally  admired 
in  his  day.1 

1  Mozart  had  a  very  particular  regard  for  him.     See  Schweitzer 
i.  220  on  his  brothers'  abilities  as  composers. 


CHAPTER  VIII 

PERSONAL  CHARACTERISTICS 

DISTINGUISHED  as  a  player,  composer,  and  teacher, 
Bach  was  also  an  indulgent  father,  a  good  friend, 
and  a  loyal  citizen.  His  paternal  devotion  is 
shown  by  his  care  for  his  children's  education, 
and  he  was  equally  assiduous  in  the  performance 
of  his  civil  and  social  duties.  His  acquaintance 
was  agreeable  to  everybody.  Every  lover  of 
music,  whatever  his  nationality,  was  sure  of  a 
friendly  reception  at  his  house,  and  his  sociability 
and  reputation  caused  him  to  be  seldom  without 
visitors. 

As  an  artist  Bach  was  exceptionally  modest. 
Notwithstanding  his  pre-eminence  in  his  profession, 
a  superiority  of  which  he  could  not  but  be  conscious, 
and  in  spite  of  the  admiration  and  respect  daily 
shown  him,  he  never  gave  himself  airs.  If  he 
was  asked  the  secret  of  his  mastership  he  would 
answer,  '  I  was  made  to  work  ;  if  you  are  equally 
industrious  you  will  be  equally  successful,'  x  a 

1  Spitta  (iii.  262)  quotes  a  characteristic  anecdote.  To  some  one 
who  praised  his  skill  on  the  Organ  Bach  replied :  '  There  is  nothing 
wonderful  about  it.  You  merely  strike  the  right  note  at  the  right 
moment  and  the  Organ  does  the  rest.' 


PERSONAL  CHARACTERISTICS       107 

remark  which  made  no  allowance  for  his  own 
exceptional  genius.  His  opinion  of  other  com- 
posers and  their  work  was  invariably  fair  and 
generous.  Naturally,  much  of  their  work  struck 
him  as  somewhat  trivial,  viewed  from  his  own 
altitude.  But  he  never  uttered  a  harsh  criticism, 
unless  it  were  to  a  pupil,  to  whom  he  held  himself 
bound  to  say  what  he  thought.  Still  less  did 
he  presume  on  his  acknowledged  superiority  to 
indulge  in  braggadocio,  as  often  happens  with 
performers  brought  into  touch  with  those  whom 
they  regard  as  their  inferiors.  Herein  Bach's 
modesty  went  so  far  that  he  never  spoke 
voluntarily  of  his  frustrated  contest  with 
Marchand,  though  the  latter  was  the  challenger.1 
Many  absurd  stories  are  told  of  Bach ;  for  instance 
that,  dressed  up  as  a  village  schoolmaster,  he 
liked  to  enter  a  church  and  ask  the  organist  to 
let  him  play  a  Choral,  in  order  to  enjoy  the  astonish- 
ment excited  by  his  playing,  or  to  hear  the  Organist 
declare,  '  This  must  be  Bach  or  the  Devil.' 2 
He  always  ridiculed  such  stories,  and  indeed 
had  too  much  respect  for  his  art  to  make  it  cloak 
his  vanity. 

1  See  supra,  p.  19.    Bach  himself  certainly  was  the  challenger. 

*  When  Handel  was  at  Venice  in  1708,  Domenico  Scarlatti,  hearing 
a  stranger  touching  the  Harpsichord  at  a  masquerade,  exclaimed, 
'  That  must  either  be  the  famous  Saxon  or  the  Devil '  (Rockstro's 
'  George  Frederick  Handel,'  p.  48).  Streatfield  (p.  146)  mentions  a 
similar  event  which  took  place  in  1737.  Hearing  a  stranger  playing 
a  Fugue  in  one  of  the  Flemish  churches,  the  organist  embraced  him, 
saying,  '  You  can  be  no  other  but  the  great  Handel.' 


108          JOHANN  SEBASTIAN  BACH 

At  musical  parties  where  Quartet  or  other  instru- 
mental music  was  performed,  Bach  liked  to  play 
the  Viola,  an  instrument  which  put  him,  as  it 
were,  in  the  middle  of  the  harmony  in  a  position 
from  which  he  could  hear  and  enjoy  it  on  both 
sides.  On  those  occasions  he  would  sometimes 
join  in  a  Trio  or  other  piece  on  the  Harpsichord. 
If  he  was  in  the  mood  and  the  composer  was 
agreeable,  he  would,  as  has  been  told  already, 
extemporise  a  new  Trio  from  the  Continuo  part, 
or,  adding  a  new  part,  convert  the  Trio  into  a 
Quartet.  But  these  were  the  only  occasions  on 
which  he  was  ready  to  display  his  great  powers 
before  others.  One  Hurlebusch,  of  Brunswick,1 
a  conceited  and  arrogant  Clavier  player,  once 
visited  Bach  at  Leipzig,  not  to  hear  him  play, 
but  to  play  to  him.  Bach  received  him  politely 
and  listened  patiently  to  his  very  indifferent  per- 
formance. On  taking  leave  Hurlebusch  made 
Bach's  eldest  sons  a  present  of  his  published 
Sonatas,  exhorting  them  to  study  them  diligently. 
Bach,  knowing  the  kind  of  music  his  sons  were 
wont  to  play,  smiled  at  Hurlebusch's  naivet6  but 
did  not  permit  him  to  suspect  his  amusement.2 

Bach  was  fond  of  listening  to  the  music  of  other 
composers.  If  he  and  one  of  his  elder  sons  hap- 

1  Heinrich  Lorenz  Hurlebusch  was  organist  of  three  churches  in 
Brunswick.     His  visit  to  Bach  took  place  in  1730,  seemingly.     See 
Schweitzer,  i.  154. 

2  Schweitzer  prints  an  appreciation  of  Hurlebusch  which  suggests 
that  he  was  a  man  of  distinct  ability  and  '  a  paragon  of  politeness.' 


PERSONAL  CHARACTERISTICS       109 

pened  to  be  in  church  when  a  Fugue  was  played, 
directly  the  subject  had  been  stated  he  always 
pointed  out  how  it  ought  to  be  developed.  If  the 
composer  knew  his  business  and  fulfilled  Bach's 
anticipations,  he  was  pleased  and  nudged  his  son 
to  draw  his  attention  to  the  fact.  Is  this  not 
evidence  of  his  impartial  interest  in  other  people's 
compositions  ? 

I  have  mentioned  already  the  composers  whom 
in  his  youth  Bach  esteemed,  loved,  and  studied. 
Later,  when  experience  ripened  his  critical  faculty, 
he  had  other  favourites,  among  them  Imperial 
Kapellmeister  Fux,  Handel,  Caldara,1  Reinhard 
Keiser,  Hasse,2  the  two  Grauns,3  Telemann,4 
Zelenka,5  Benda,6  etc.,  and,  in  general,  the  dis- 
tinguished musicians  at  Dresden  and  Berlin.  He 
was  acquainted  with  all  except  the  first  four  of 
those  I  mention.  In  his  youth  Bach  was  ultimate 
with  Telemann.7  He  also  had  a  very  warm  regard 

1  Antonio  Caldara,  b.  arc.   1670;    vice-Kapellmeister  at  Vienna, 
1716-36 ;  d.  1736. 

2  Johann  Adolph  Hasse,   b.    1699,   d.    1783 ;    Kapellmeister  and 
Director  of  the  Opera,  Dresden. 

3  Johann  Gottlieb  Graun,  b.  ctrc.  1698,  d.  1771 ;   conductor  of  the 
royal  Kapelle,  Berlin. 

Carl  Heinrich  Graun,  b.  1701,  d.  1759  ;  like  his  brother,  in  Frederick 
the  Great's  service. 

4  Georg  Philipp  Telemann,  b.  1681,  d.  1767 ;    Cantor  and  Musik- 
direktor  in  Hamburg. 

5  Johann  Dismas  Zelenka,  b.  1679  or  1681,  d.  1745 ;   Court  Com- 
poser at  Dresden. 

•  Franz  Benda,  b.  1709,  d.  1786 ;   Concertmeister  to  Frederick  the 
Great  upon  the  death  of  J.  G.  Graun. 
7  On  Telemann's  influence  on  Bach  see  Spitta,  ii.  437. 


110          JOHANN  SEBASTIAN  BACH 

for  Handel  and  often  expressed  a  desire  to  know 
him.  As  Handel,  like  himself,  was  a  famous  per- 
former on  the  Organ  and  Clavier,  many  in  Leipzig 
and  its  neighbourhood  wished  to  bring  the  two 
great  men  together.  But  Handel,  then  living  in 
London,  never  found  time  for  a  meeting  during 
the  visits  he  paid  to  Halle,  his  native  town.  On 
his  first  visit  in  1719,  Bach  was  at  Cothen,  only 
some  twenty  miles  distant.  As  soon  as  he  was 
informed  of  Handel's  arrival  he  lost  not  a  moment 
in  setting  out  to  visit  him,  but  on  his  arrival 
found  that  Handel  had  returned  to  England.  At 
the  time  of  Handel's  second  visit,  between  1730 
and  1740,1  Bach  was  prevented  from  leaving 
Leipzig  by  indisposition.  But  no  sooner  was  he 
advised  of  Handel's  arrival  at  Halle  than  he  sent 
his  eldest  son,  Wilhelm  Friedemann,  to  beg  him 
to  visit  Leipzig,  an  invitation  which  Handel  was 
unable  to  accept.  In  1752  or  1753,  when  Handel 
paid  his  third  visit  to  Germany,2  Bach  was  dead. 
He  had  always  expressed  the  strongest  desire  to 
know  Handel,  and  the  Leipzig  people  were  dis- 
appointed in  their  wish  to  hear  the  two  great 
men  together. 

While    Hasse   was   Kapellmeister   at   Dresden 
both   the   Opera   and   Kapelle   flourished.     Bach 

1  Handel's  second  visit  to  Halle  took  place  in  June  1729.     His 
mother's  illness  detained  him.     See  Streatfield,  p.  110. 

2  Handel's  third  visit  took  place  in  July-August  1750.     He  was 
laid  up  by  a  severe  accident  in  the  course  of  it,  and  appears  to  have 
not  recovered  from  it  at  the  time  of  Bach's  death. 


PERSONAL  CHARACTERISTICS         111 

had  many  friends  at  Dresden,  who  held  him  in 
high  regard.  Among  them  may  be  mentioned 
Hasse  and  his  wife,  the  celebrated  Faustina.1 
They  often  visited  Leipzig  and  were  admirers  of 
the  Cantor's  rare  talents.  Hence,  at  Dresden  he 
was  always  received  in  the  most  respectful 
manner  and  often  visited  the  Opera,  generally 
accompanied  by  his  eldest  son.  When  the  time 
for  their  journey  approached  Bach  would  say  in 
fun,  '  Well,  Friedemann,  shall  we  go  to  Dresden 
to  hear  the  pretty  tunes  2  again  ?  '  Innocent  as 
the  jest  was,  I  am  sure  Bach  would  not  have 
uttered  it  to  any  but  his  son,  who  already  could 
distinguish  between  great  music  and  agreeable 
trifles. 

Bach  was  never  in  a  position  to  make  what  is 
called  a  brilliant  fortune.3  He  held  a  fairly 
lucrative  office,  but  his  income  had  to  maintain 
and  educate  a  large  family.  He  neither  possessed 
nor  sought  other  means  of  livelihood,  and  was  too 
absorbed  hi  his  art  and  work  to  think  of  accepting 
engagements  which,  in  those  days,  and  to  a  man 
of  his  genius,  certainly  would  have  brought  riches. 
Had  he  possessed  a  taste  for  travel  he  would,  as 
even  one  of  his  detractors  admits,  have  '  drawn 

1  Faustina  Bordoni,  b.  1693,  d.  1783  ;  m.  Hasse  in  1730.  She  was 
one  of  the  most  famous  singers  of  the  day. 

8  The  original  has  '  Liederchen.' 

3  See  supra,  p.  37.  Compare  Handel's  case.  He  received  a  royal 
pension  of  £600  per  annum,  and  though  he  was  twice  bankrupt,  left 
£20,000. 


112         JOHANN  SEBASTIAN  BACH 

upon  himself  the  admiration  of  the  whole  world.' 
But  he  preferred  a  quiet  domestic  life,  constant 
occupation  in  his  work,  with  contentment  and 
a  moderate  competence,  like  his  forbears. 

His  modesty,  however,  did  not  prevent  him 
from  receiving  manifold  proofs  of  regard  and 
affection  and  marks  of  honourable  distinction. 
Prince  Leopold  of  Cothen,  Duke  Ernst  August 
of  Weimar,1  and  Duke  Christian  of  Weissenfels, 
all  showed  sincere  regard  for  him,  which  must  have 
been  the  more  agreeable  to  him  seeing  that  they 
were  all  sound  judges  of  music.  At  Berlin,  as  at 
Dresden,  he  was  universally  honoured  and  re- 
spected. If  we  add  to  these  testimonies  the  fact 
that  he  captured  the  admiration  of  all  who  heard 
him  play  or  were  acquainted  with  his  music,  then 
we  may  be  sure  that  Bach,  '  singing  for  himself 
and  the  Muses,'  received  at  the  hands  of  Fame  the 
recognition  he  valued  most,  and  cherished  it  far 
more  than  the  trivial  honour  of  a  ribbon  or  gold 
chain. 

I  add  that,  in  1747,  Bach  became  a  member 
of  the  '  Society  of  the  Musical  Sciences,'  founded 
by  Mizler,  only  because  we  owe  to  the  circum- 
stance his  admirable  Choral  Variations  on  'Vom 
Himmel  hoch.'  2  He  presented  them  to  the 


1  The  Duke  was  the  nephew  of,  and  succeeded,  Duke  Wilhelm  Ernst 
in  1728. 

2  The  Canonic  Variations  on  the  melody  are  published  by  Novello 
bk.  19,  p.  73.     For  the  Mizler  Society,  see  supra,  p.  xxiv. 


PERSONAL  CHARACTERISTICS       113 

Society  on  his  admission  and  they  were  engraved 
subsequently.1 

1  Spitta  (iii.  294)  regards  the  statement  as  incorrect  and  holds  that 
the  work  was  engraved  before  Bach  joined  Mizler's  Society  in  June 
1747.  Pirro  (p.  215)  supports  Spitta  and  regards  the  Variations  as 
having  been  engraved  at  Niirnberg  '  vers  1746.' 


CHAPTER  IX 

BACH'S  COMPOSITIONS 

To  have  produced  so  many  great  works  in  all 
forms  of  musical  expression  Bach  necessarily  must 
have  been  a  prolific  writer.  For  if  a  composer  be 
the  greatest  genius  in  the  world,  unless  he  con- 
stantly exercises  his  art  he  cannot  hope  to  produce 
real  masterpieces.  Superlative  excellence  is  the 
fruit  of  indefatigable  application.  Yet  in  Bach's 
case  we  should  be  wrong  to  acclaim  as  master- 
pieces all  the  products  of  his  great  activity  just 
because  masterpieces  at  length  were  the  fruit  of 
it.  Already  in  his  early  compositions  we  find 
undeniable  evidence  of  genius.  But  they  are 
blemished  by  faults,  passages  poor  in  quality, 
extravagant,  insipid,  that  are  hardly  worth  pre- 
serving, though  of  interest  to  the  student  who 
wishes  to  trace  from  its  source  the  development 
of  Bach's  genius. 

It  is  not  difficult  to  distinguish  with  exac- 
titude those  of  Bach's  early  compositions  which 
are  of  the  first  excellence ;  for  he  has  been  at 
pains  to  give  us  the  clue.  As  he  did  not  publish 
his  first  work  until  he  was  about  forty  years 


BACH'S  COMPOSITIONS  115 

old,1  we  are  justified  in  assuming  the  merit  of 
what,  at  so  mature  an  age,  he  thought  worthy 
to  put  into  print,  and  in  concluding  generally 
that  all  his  engraved  works  are  of  first-rate 
merit.2 

With  respect  to  his  unpublished  compositions, 
and  they  are  by  far  the  most  numerous,  we  must 
in  order  to  distinguish  their  merit  rely  partly 
on  a  critical  examination  of  their  texts,  partly  on 
Bach's  own  judgment.  Like  all  great  composers, 
he  was  continually  working  on  his  compositions 
with  a  view  to  making  them  still  more  finished. 
Indeed,  he  actually  attempted  to  improve  some 
of  them  that  were  already  perfect.  Any  that  were 
susceptible  of  improvement  he  improved,  even 
those  already  engraved.  Such  is  the  origin  of  the 
variant  readings  of  his  works  found  in  older  and 
more  recent  texts.  By  constantly  retouching  his 
compositions  Bach  aimed  at  making  them  in- 
disputable masterpieces.  In  this  category  I  place 
most  of  what  he  wrote  before  the  year  1725,  as  I 
show  in  detail  in  the  following  catalogue.  A  great 

1  The  first  of  Bach's  works  to  be  engraved  was  the  Miihlhausen 
Cantata,  '  Gott  1st  mein  Konig '  (parts  only).     It  was  published  in 
1708,   when   Bach   was   twenty- three   years   old.     Forkel   refers   to 
Partita  I.  in  the  first  Part  of  the  '  Clavieriibung '  (P.  bk.  205  p.  4).      It 
was  engraved  in  1726,  when  Bach  was  forty-one  years  old.     In  1731 
he  republished  it,  with  five  others  that  had  appeared  in  the  interval, 
in  the  first  Part  of  the  '  Clavierubung '  (P.  bks.  205,  206). 

2  Forkel's  rather  casual  critical  axioms  seem  to  be  as  follows : 
'  Publication  postulates  excellence ' ;   'An  amended  MS.  implies  that 
the  original  text  was  not  a  finished  work  of  art.' 


116          JOHANN  SEBASTIAN  BACH 

many  compositions  subsequent  to  1725,  which 
for  reasons  easily  understood  are  still  in  MS.,  bear 
too  evidently  the  stamp  of  perfection  to  leave 
us  in  doubt  whether  to  class  them  as  early  essays 
or  as  the  finished  work  of  an  accomplished  master. 

The  following  are  those  of  Bach's  works  which 
have  been  engraved : 

1.  Clavierubung,  or  '  Exercises  for  the  Clavier, 
consisting  of  Preludes,  Allemandes,  Courantes, 
Sarabandes,  Gigues,  Minuets,  etc.,  for  the  Diversion 
of  Amateurs.  Opus  I.  Published  by  the  Composer, 
1731.'  This  was  Bach's  first  published  work 
and  contains  six  Suites.  The  first  of  them  came 
out  in  1726  ;  l  the  others  followed  in  successive 
years  until  all  were  engraved  together  in  173 1.2 
The  work  was  much  noticed  at  the  time.  Such 
compositions  for  the  Clavier  had  not  been  seen 
or  heard  before,  and  the  man  who  could  play  them 
was  sure  of  a  success.  Our  young  players  to-day 
would  profit  by  the  study  of  them,  so  brilliant, 
agreeable,  expressive,  and  original  are  they.  In 
the  new  edition  3  they  are  entitled,  '  Exercises 
for  the  Clavier.' 

1  It  was  the  first  work  engraved  by  Bach  himself,  though  the  parts 
of  the  Cantata  '  Gott  ist  mein  Konig '  had  been  published  by  the 
Town  Council  at  Miihlhausen  in  1708. 

2  The  work  was  published  at  Leipzig  '  in  Commission  bey  Boetii 
Seel,  hinderlassenen  Tochter,  unter  den  Rath-hause.'     The  Suites,  or 
Partitas  (P.  bks.  205,  206),  are  in  B  flat  major,  C  minor,  A  minor, 
D  major,  G  major,  E  minor. 

3  In  1801   Hoffmeister  and  Kiihnel  unsuccessfully  attempted  to 
publish  Bach's  works  by  subscription. 


BACH'S  COMPOSITIONS  117 

2.  Clqvierubung,  or  '  Exercises  for  the  Clavier, 
Part  II.,  consisting  of  a  Concerto  in  the  Italian 
style  and  an  Overture  in  the  French  manner  x  for 
a    Clavier    with    two    manuals.     Published    by 
Christopher  Weigel,  Junior,  in  Niirnberg.'  2 

3.  Clavierubung,  or  '  Exercises  for  the  Clavier, 
Part  III.,  consisting  of  various  Organ  Preludes 
to  the  Catechism  and  other  Hymns,  composed 
for  the   diversion  of  amateurs  and  particularly 
of  competent  judges  of  such  works.     Published 
by   the    Composer.'     Besides   the   Preludes   and 
Fugues  for  the  Organ,  all  of  which  are  masterly, 
the  book  contains  four  Duetti  for  the  Clavier,3 
models  of  their  kind. 

4.  Seeks  Chorale,  or   '  Six  Choral  Melodies  of 
different  kinds,  for  an  Organ  with  two  manuals  and 
pedal.     Zella,   in   the   Thuringian   Forest.     Pub- 
lished by  Johann  G.  Schiibler.'  4    They  are  full 
of  dignity  and  religious  feeling.     In  some  of  them, 
too,  we  have  instances  of  Bach's  original  manage- 

1  The  Partita  in  B  minor  (P.  bk.  208  p.  20). 

2  The  work  was  published  in  1735.     The  Italian  Concerto  in  F  major 
is  published  by  Novello  and  P.  bk.  207. 

3  The  work  appeared  in  1739.     It  was  intended  to  contain  works 
for  the  Organ  only  ;  the  four  Duetti  are  incongruous  and  seem  to  have 
crept  in  by  mistake.     See  the  scheme  of  the  work  discussed  in  Terry, 
'  Bach's  Chorals,'  Part  III.     The  Choral  Preludes  are  in  Novello's  ed., 
bk.  xvi. 

4  The  work  was  published  circ.  1747-50.     Five  of  the  six  move- 
ments   certainly,     and    the    sixth    with    practical    certainty,    are 
adaptations    to    the   Organ   of   movements   out   of   Bach's   Church 
Cantatas.       See    Parry,     'Bach,'    p.    535.      The    Chorals    are    in 
Novello's  ed.,  bk,  xvi. 


118          JOHANN  SEBASTIAN  BACH 

ment  of  the  stops.1  Thus,  in  the  second  Choral, 
'  Wo  soil  ich  fliehen  hin,'  he  gives  to  the  first 
manual  an  8  foot,  to  the  second  a  16  foot,  and  to 
the  pedal  a  4  foot  stop.  The  pedal  has  the  cantus 
firmus.* 

5.  Clavierubung,  or  *  Exercises  for  the  Clavier, 
consisting  of  an  Aria  with  several  Variations,  for 
a  Clavier  with  two  manuals.  Published  by 
Balthasar  Schmidt  at  Niirnberg.'  3  This  ad- 
mirable work  consists  of  thirty  Variations,  some 
in  canon,  in  a  variety  of  movements  and  at  all 
intervals  from  the  unison  to  the  ninth,  with  easy 
flowing  melody.  It  includes  a  regular  four- 
part  Fugue,4  several  extremely  brillant  Variations 
for  two  Claviers,5  and  concludes  with  a  Quodlibet, 
as  it  is  called,  which  alone  would  render  its  com- 
poser immortal,  though  it  is  not  the  best  thing  in 
the  volume.6 

The  Variations  are  models  of  what  such  com- 
positions ought  to  be,  though  no  one  has  been 
so  rash  as  to  attempt  to  follow  Bach's  footsteps. 

1  See  supra,  p.  65. 

2  Thus  the  pedal  sounds  above  the  part  given  to  the  second  manual 
and  is  often  the  topmost  part.     See  Novello's  ed.,  bk.  xvi.  4. 

3  Published  circ.  1742  ;  the  so-called  '  Goldberg  Variations.'    They 
are  in  P.  bk.  209. 

4  Variation  No.  10  is  a  Fughetta  in  four  parts. 

5  Ten  of  the  Variations  are  marked  '  a  2  Clav.,'  that  is,  for  two  key- 
boards or  manuals :  Nos.  8,  11,  13,  14,  17,  20,  23,  25,  26,  28.     Nos.  5, 
7,  29  are  marked  '  a  1  owero  2  Clav.' 

8  The  movement  is  constructed  upon  two  merry  folk-songs,  '  Kraut 
and  Ruben  haben  mich  vertrieben,'  and  '  Ich  bin  so  lang  nicht  bei  dir 
gewest.' 


BACH'S  COMPOSITIONS  119 

We  owe  them  to  Count  Kaiserling,  formerly 
Russian  Ambassador  at  the  Saxon  Electoral 
Court,  who  frequently  visited  Leipzig  with 
Goldberg,  already  mentioned 1  among  Bach's 
pupils.  The  Count  was  a  great  invalid  and 
suffered  from  insomnia.  Goldberg  lived  in  the 
Ambassador's  house,  and  slept  in  an  adjoining 
room,  to  be  ready  to  play  to  him  when  he  was 
wakeful.  One  day  the  Count  asked  Bach  to 
write  for  Goldberg  some  Clavier  music  of  a 
soothing  and  cheerful  character,  that  would 
relieve  the  tedium  of  sleepless  nights.  Bach 
thought  a  set  of  Variations  most  likely  to  ful- 
fil the  Count's  needs,  though,  on  account  of  the 
recurrence  of  the  same  basic  harmony  through- 
out, it  was  a  form  to  which  he  had  hitherto  paid 
little  attention.  Like  all  his  compositions  at 
this  period,  however,  the  Variations  are  a  master- 
piece, and  are  the  only  example  he  has  left  us  of 
this  form.2  The  Count  always  called  them  '  my 
Variations '  and  was  never  weary  of  hearing 
them.  For  long  afterwards,  when  he  could  not 
sleep,  he  would  say,  '  Play  me  one  of  my  Varia- 

1  See  supra,  p.  101. 

2  In  fact  Bach  wrote  the  early  '  Aria  variata  alia  raaniera  Italiana* 
(Peters  bk.  215,  p.  12)  for  the  Clavier.     For  the  Organ  he  wrote  four 
sets  of  Variations  upon  as  many  Choral  melodies  (Novello  bk.  xix.). 
But  all  except  the  Goldberg  Variations  are  youthful  works,  and  in  hia 
maturity  Bach  clearly  had  no  liking  for  the  form.     The  theme  of  the 
Goldberg  Variations,  moreover,  is  itself  a  youthful  idea ;    at  least  it 
dates  back  to  as  early  as  1725,  and  is  found  in  A.  M.  Bach's  '  Noten- 
buch  '  (No.  26,  Aria  in  G  major). 


120         JOHANN  SEBASTIAN  BACH 

tions,  Goldberg.'  Perhaps  Bach  was  never  so 
well  rewarded  for  any  composition  as  for  this. 
The  Count  gave  him  a  golden  goblet  containing 
one  hundred  louis  d'ors,  though,  as  a  work 
of  art,  Bach  would  not  have  been  overpaid 
had  the  present  been  a  thousand  times  as  large. 
It  may  be  observed,  that  in  the  engraved  copy 
of  the  Variations  there  are  serious  mistakes, 
which  the  composer  has  corrected  in  his  own 
copy.1 

6.  Einige  kanonische   Verdnderungen,   '  Canonic 
Variations  on  the  Christmas  Hymn  '  Vom  Himmel 
hoch  da  komm  ich  her,'  for  an  Organ  with  two 
manuals  and  pedal.     Published  at  Niirnberg  by 
Balthasar    Schmidt.'     The    work    contains    five 
canonic  variations  of  the  utmost  ingenuity.2 

7.  Musikalisches  Opfer,  or  '  A  Musical  Offering,' 
dedicated  to  Frederick  n.,  King  of  Prussia.     The 
theme  received  by  Bach  from  the  King  3  is  treated 
first  as  a  three-part  Fugue  under  the  acrostic  title 
*  Ricercare  '  (Regis  iussu  cantio  et  reliqua  canonica 
arte  resoluta).     There  follows  a  six-part  '  Ricer- 
care '  and  '  Thematis  regii  elaborationes  canonicae  ' 

1  There  is  no  reference  to  these  corrigenda  in  the  B.G.  edition. 

2  The  work  has  been  referred  to  already  in  connection  with  Bach's 
membership  of  Mizler's  Society  (supra,  p.  112).     It  was  composed  pre- 
sumably circ.  1746  and  in  point  of  technical  skill  is  the  most  brilliant 
of  Bach's  instrumental  works.     Forkel  states  that  it  was  engraved 
after  June  1747,  when  Bach  joined  Mizler's  Society.     Spitta  (iii.  295) 
is  of  opinion  that  it  was  already  engraved  by  then.   It  is  in  bk.  xix.  of 
Novello's  edition. 

3  Supra,  p.  25. 


BACH'S  COMPOSITIONS  121 

of  various  kinds.1  The  work  includes  a  Trio  for 
Flute,  Violin,  and  Clavier  upon  the  same  subject.2 
8.  Die  Kunst  der  Fuge,  or  '  The  Art  of  Fugue.' 
This  work,  unique  of  its  kind,  did  not  appear  till 
about  1752,  after  Bach's  death,  though  the  greater 
part  of  it  had  been  engraved  by  his  sons  during 
his  lifetime.3  Marpurg,4  the  leading  German 
musical  critic  of  that  day,  contributed  a  preface 
to  this  edition  which  contains  many  just  observa- 
tions on  the  value  and  utility  of  such  treatises.5 
But,  being  too  good  for  the  general  public,  the 
work  found  only  a  small  circulation  among  those 
who  discerned  its  merit  and  eagerly  bought  copies. 

The  presentation  copy  of  the  work,  which  Bach  sent  to  Frederick 
along  with  a  dedicatory  letter  (July  7,  1747),  is  in  the  Berlin 
Amalienbibliothek  and  proves  that  only  the  first  third  of  the  work, 
as  far  as  the  '  Ricercare  a  sei  voci '  (see  B.G.  xxxi.  (2))  was  sent  then. 
The  latter  and  the  remaining  canons  were  dispatched  subsequently 
probably  by  the  hand  of  C.  P.  E.  Bach.  The  six-part  Ricercare  was 
a  particular  compliment  to  the  King.  Frederick  had  desired  Bach 
on  his  visit  to  play  a  Fugue  in  six  parts  but  left  it  to  the  player  to 
select  his  theme.  Bach  now  employed  the  '  thema  regium '  for  the 
purpose.  The  first  reissue  of  the  work  was  by  Breitkopf  and  Haertel 
in  1832.  Peters  (bk.  219)  brought  it  out  in  1866.  See  Schweitzer, 
i.  417  ff.  and  Spitta,  iii.  191  ff.  and  292. 

2  In  C  minor  (P.  bk.  237  p.  3). 

3  The  statement  is  inaccurate.    The  work  was  written  for  the  most 
part  in  1749  and  the  greater  part  of  it  was  prepared  for  engraving  by 
Bach  himself  during  his  last  illness.     None  of  his  elder  sons  was  with 
him  at  his  death,  and  the  blunders  that  disfigure  the  engraved  copy 
show  that  they  clumsily  finished  their  father's  work.     It  is  in  P.  bk.  218. 

4  Friedrich  Wilhelm  Marpurg,  b.  1718,  d.  1795. 

5  The  work  was  published  shortly  after  Bach's  death,  but  had  no 
sale.     C.  P.  E.  Bach  then  commissioned  Marpurg  to  write  a  preface, 
and  the  new  edition  was  published  at  the  Leipzig  Fair,  Easter,  1752. 
In  four  years  only  about  thirty  copies  were  sold.     See  Spitta,  iii.  197  ff. 
and  Schweitzer,  i.  423  ff. 


122         JOHANN  SEBASTIAN  BACH 

The  plates  were  never  used  again  and  eventually 
were  sold  *  by  Bach's  heirs  at  the  price  of  old  copper. 
Written  by  a  man  of  Bach's  transcendent  genius, 
and  commended  as  a  masterpiece  by  a  critic  so 
highly  regarded  as  Marpurg,  a  work  of  this  kind, 
if  published  in  any  other  country  than  Germany, 
would  have  passed  through  at  least  ten  editions 
by  now,  if  only  at  the  bidding  of  patriotism.  But 
in  Germany  not  a  sufficient  number  of  copies  was 
sold  to  pay  for  the  plates  used  in  engraving  the 
work  ! 

The  work  consists  of  fugal  Variations  planned 
on  the  most  elaborate  scale.2  The  composer's 
intention  was  to  show  in  what  a  variety  of  ways 
the  same  theme  can  be  treated  fugally.  The 
Variations  (here  called  '  Contrapunctus ')  3  are 
complete  Fugues  upon  the  same  theme.  The  last 
Fugue  of  all  has  three  subjects,  in  the  third  of 
which  the  composer  signs  his  name,  BACH.4 

1  In  1756.     See  C.  P.  E.  Bach's  advertisement  in  Felix  Grenier, 
p.  232. 

2  The  work  contains  six  Fugues  and  four  canons  upon  the  same 
theme  ;  an  unfinished  Fugue  '  a  tre  soggetti,'  the  first  four  notes  of  the 
third  of  which  spell  BACH;  and  the  Choral  Prelude  '  Wenn  wir  in 
hochsten  Nothen  sein.' 

3  Schweitzer  explains :    '  His  purpose  in  this  work  being  a  purely 
theoretical  one,  Bach  writes  the  Fugues  out  in  score,  and  calls  them 
"  counterpoints."  ' 


BACH 


BACH'S  COMPOSITIONS  123 

Bach  was  prevented  from  finishing  it  by  the  dis- 
order of  his  eyes,  and  as  an  operation  brought  no 
relief  the  movement  was  never  completed.  It  is 
said  that  Bach  intended  to  introduce  four  themes 
into  it  and  to  bring  it  to  an  impressive  conclusion 
by  inverting  them  all.  All  the  Fugues  in  the 
work  are  equally  smooth  and  melodious. 

To  make  up  for  the  unfinished  Fugue  Bach 
concluded  the  work  with  a  Choral  Prelude  upon 
the  tune  '  Wenn  wir  in  hochsten  Nothen  sein,' 
which  he  dictated  to  his  son-in-law,  Altnikol,  a 
few  days  before  his  death.1  Of  the  extraordinary 
skill  it  displays  I  do  not  speak,  save  to  remark 
that  even  in  his  last  illness  it  proclaims  Bach's 
skill  undiminished.  The  pious  resignation  and 
devotion  that  characterise  it  move  me  deeply 
whenever  I  play  it.  Nor  should  I  find  it  easy 
to  say  which  I  had  rather  had  been  omitted,  the 
Choral  Prelude,  or  the  conclusion  of  the  unfinished 
Fugue. 

9.  Lastly,  after  Bach's  death,  his  four-part 
Chorals  were  collected  by  his  son,  Carl  Philipp 
Emmanuel,  and  were  published  by  Birnstiel 
(Berlin  and  Leipzig),  Part  I.  in  1765,  Part  II.  in 
1769.2  Each  Part  contains  one  hundred  Chorals, 

1  Supra,  p.  27.     The  movement  is  in  N.  bk.  17  p.  85.     It  is  not 
certain  that  Bach  intended  the  Prelude  or  the  unfinished  Fugue  to  be 
included. 

2  C.  P.  E.  Bach  waa  only  concerned  with  the  first  volume.     Erk, 
in  his  edition  of  the  '  Choralgesange,'  conjectures  that  Kirnberger  was 
responsible  for  the  second. 


124          JOHANN  SEBASTIAN  BACH 

mostly  taken  from  the  composer's  church  Can- 
tatas. 

More  recently  Kirnberger  edited,  in  four  volumes, 
a  collection  of  Bach's  Chorals.  They  are  pub- 
lished by  Breitkopf.1 

Bach's  works,  still  in  MS.,  consist  of  composi- 
tions for  the  Clavier,  Organ,  with  and  without 
other  instruments,  Strings,  and  the  voice.  I  will 
enumerate  them  in  that  order. 

I.  COMPOSITIONS  FOR  THE  CLAVIER 

1.  Six  Little  Preludes  for  Beginners.2 

2.  Fifteen  Two-part  Inventions.     An  Invention 
is  a  musical  theme  so  constructed  that  by  imita- 
tion  and   inversion   a  whole   movement  can  be 
evolved  from  it.     The  subject  having  been  first 
stated,  the  rest  develops  naturally  out  of  it.     For 
the  instruction  of  a  young  Clavier  player  these 
fifteen  Inventions  are  of  great  value,  seeing  that 
the  composer  has  been  careful  not  only  to  provide 
exercises  for  both  hands  but  for  every  finger  as 

1  The  four  volumes  were  published  at  Leipzig  between  1784-87. 
Spitta  states  that  C.  P.  E.  Bach  was  the  editor.     Erk  joins  Kirnberger 
with  him  in  that  position.     As  C.  P.  E.  Bach  died  in  1788  Kirnberger's 
association  with  the  work  is  probable,  especially  if  he  had  already 
been  responsible  for  the  1769  volume. 

2  Bach's  Clavier  school  consisted  of  eighteen  Preludes  for  beginners 
(all  in  B.G.  xxxvi.) ;  the  two-part  and  three-part  Inventions;  and  the 
'  Well-tempered  Clavier.'     The  six  Preludes  mentioned  by  Forkel,  and 
which  alone  he  knew,  were  published  by  him  for  the  first  time.     Seven 
more  are  found  in  Wilhelm  Friedemann's    '  Clavierbiichlein '    (B.G. 
XLV  (1)),  and  the  remaining  five  have  survived  in  texts  handed  down 
by  others  of  Bach's  pupils.    The  eighteen  are  in  P.  bk.  200. 


BACH'S  COMPOSITIONS  125 

well.  They  were  composed  at  Cothen  in  1723, 
with  a  long  title  which  begins  :  '  An  honest  Guide, 
in  which  lovers  of  the  Clavier  are  shown  a  clear 
method  of  playing  correctly  in  two  parts,'  etc.1 

It  cannot  be  denied  that,  among  other  blem- 
ishes, the  Inventions  occasionally  exhibit  melodic 
poverty  and  roughness.  But  finding  them  useful 
to  his  pupils,  Bach  eventually  revised  them  and 
removed  from  them  everything  that  offended  his 
maturer  taste,  so  that  they  now  stand  as  master- 
pieces of  pure  music.  Moreover  they  are  in- 
valuable exercises  for  the  ringers  and  hands  and 
are  sound  instructors  of  taste.  There  is  no  better 
introduction  to  Bach's  larger  works  than  they 
afford. 

3.  Fifteen  three-part  Inventions,  also  called  Sym- 
phonies.    They  were  written  for  the  same  purpose 
as  the  Inventions,  but  are  more  advanced.2 

4.  '  The  Well-tempered  Clavier,  or,  Preludes  and 
Fugues  in  all  tones  and  semitones,  composed  for 
the  profit  and  use  of  young  musicians  desirous 
of  knowledge,  as  also  for  those  who  are  skilled 
already  in  this  studio.''     Part  I.  was  finished  in 
1722.     Part  II.,  like  Part  I.,  contains  twenty-four 
Preludes  and  twenty-four  Fugues  in  every  key, 

1  The  Autograph  was  written  at  Cothen  and  is  dated  1723.     It  also 
contains  the  fifteen  Symphonies,  or  three-part  Inventions  mentioned 
in   paragraph   3.     Both   Inventions   and  Symphonies  are  in  P.  bk. 
201.     According  to  Spitta  (ii.  57  n.)  the  Inventions  were  published  at 
Leipzig  in  1763.     See  also  Schweitzer,  i.  328  ff. 

2  See  the  previous  note. 


126.         JOHANN  SEBASTIAN  BACH 

and  was  composed  at  a  later  period.1  Every 
number  of  it,  from  first  to  last,  is  a  masterpiece. 
In  Part  I.,  however,  certain  Preludes  and  Fugues 
bear  marks  of  immaturity  and  are  included  pro- 
bably only  in  order  to  complete  the  series.  But 
here  again  Bach  eventually  corrected  whatever 
seemed  to  him  lacking  in  finish.  He  altered  or 
rewrote  entire  passages,  so  that  in  the  later  texts 
few  movements  are  not  perfect.  Among  these 
few  I  reckon  the  Fugues  in  A  minor,2  G  major 
and  G  minor,3  C  major,4  F  major  and  F  minor.5 
The  rest  are  excellent,  some  of  them  so  super- 
latively good  as  to  be  not  inferior  to  those  in 
Part  II.6  Even  Part  II.,  for  all  its  original  per- 
fection, has  been  improved  by  the  composer,  as 
may  be  observed  by  comparing  the  original  and 
later  texts.  Both  Parts  contain  treasures  of  art 
not  to  be  found  outside  Germany. 

1  The  second  Part  was  compiled  in  1744  and  Bach's  Autograph  of 
it,  though  not  the  earliest  Autograph,  is  in  the  British  Museum.     See 
Schweitzer,  i.  331  G.  and  Spitta,  ii.  161  fl.     The  whole  work  is  in 
P.  bks.  1.2;  or  la,  16  ;  or  2790a,  27906. 

2  No.  20.     Spitta  (ii.  164)  attributes  it  to  the  years  1707  or  1708. 
Schweitzer  (i.  332)  also  regards  it  as  a  youthful  piece  written,  more- 
over, for  the  pedal  Clavicembalo. 

3  Nos.  15  and  16.     Spitta,  admitting  that  the  two  do  not  rank  with 
the  most  interesting  in  the  collection,  finds  no  indication  of  their 
being  of  different  date  from  the  best  movements. 

*  No.  1.     Here  Spitta  (ii.  165  n.)  challenges  Forkel. 

6  Nos.  11  and  12.  In  regard  to  No.  12  (F  minor)  Spitta  holds 
Forkel  to  be  in  error.  As  to  No.  11,  he  expresses  the  same  opinion  as 
in  note  3,  supra. 

6  The  date  1744  places  the  second  Part  among  Bach's  latest  com- 
positions. On  the  other  hand,  like  the  first  Part,  it  contained  work 
of  earlier  date. 


BACH'S  COMPOSITIONS  127 

5.  Chromatic    Fantasia    and    Fugue.*    I    have 
taken   considerable   pains  to   discover   a   similar 
piece   of   music   by   Bach,   but  without  success. 
The  Fantasia  is  unique  and  unequalled.     Wilhelm 
Friedemann    sent    it    to    me    from    Brunswick 
inscribed  with  these  words  by  a  mutual  friend  : 
'  Anbey  kommt   an   etwas  Musik  von  Sebastian, 
sonst  genannt :  Fantasia  chromatica ;  bleibt  schon 
in  alle  Saecula.' 

It  is  remarkable  that  this  piece,  for  all  its 
technical  skill,  appeals  to  the  most  unpractised 
hearer,  if  it  is  performed  at  all  tolerably. 

6.  A  Fantasia  in  C  minor.     It  is  not  of  the  same 
character  as  the  preceding  work,  but  resembles 
rather  the  Allegro  of  a  Sonata.     It  is  divided  into 
two  parts,  but  must  be  played  as  a  single  move- 
ment.    It  is  an  excellent  work,  and  in  old  copies 
an    unfinished    Fugue    follows,   which,   however, 
cannot    belong    to    it.2     The    first    thirty    bars 
certainly  are  by  Bach,  for  they  are  marked  by 
an  extremely  bold  use  of  augmented  and  diminished 
intervals    and    their    inversions,     in     three-pait 
harmony.     None  but  Bach  attempted  such  things. 

1  Chromatic  Fantasia  and  Fugue  in  D  minor  (P.  bk.  207  p.  4).     It 
probably  dates  from  circ.  1720-23. 

2  The  MS.  was  discovered  in  1876  and  is  now  at  Dresden.     It  was 
written  circ.  1738  and  disproves  Forkel's  conjecture  that  the  Fugue 
did  not  belong  to  the  Fantasia  and  is  only  partially  by  Bach.     The 
Fugue  contains  forty-seven  bars.    As  the  Autograph  is  a  fair  copy  the 
Fugue  cannot  be  called  unfinished.     See  Spitta,  iii.  182.     The  Fan- 
tasia is  in  P.  bk.  207  p.  50 ;  the  Fugue  in  P.  bk.  212  p.  88.    See  E.G. 
xxxvi.,  xxxvni.,  and  xm.  for  other  Clavier  Fantasias. 


128         JOHANN  SEBASTIAN  BACH 

The  rest  of  the  movement  seems  to  have  been 
added  by  another  hand  and  bears  no  trace  of 
Bach's  style. 

7.  Six  large  Suites,  consisting  of  Preludes,  Alle- 
mandes,  Courantes,  Sarabandes,   etc.     They  are 
known  as  the  '  English  Suites,'  because  the  com- 
poser wrote  them  for   an   Englishman  of  rank.1 
All  of  them  are  of  great  merit  as  works  of  art, 
and  some  movements,  in  particular  the  Gigues 
of  the  fifth  and  sixth  Suites,  are  perfect  master- 
pieces of  harmony  and  melody. 

8.  Six  small  Suites,  consisting  of  Allemandes, 
Courantes,   etc.     They   are   generally   called   the 
'  French  Suites,'  because  they  are  written  in  the 
French    style.2    The    composer    is    intentionally 
less  academic  in  them  than  in  his  larger  Suites, 
and  their  melodies  are  more  than  usually  pleasant 
and    agreeable.     In    particular    the    fifth    Suite 
deserves  to  be  noticed :    all  its  movements  are 
most   melodious,   and   in   the   concluding   Gigue 

1  The  true  explanation  seems  to  be  that  the  Prelude  of  the  first 
Suite  (A  major)  is  based  upon  a  Gigue  by  Charles  Dieupart  (d.  circ. 
1740),  a  popular  teacher  and  composer  in  England.     The  words  '  fait 
pour  les  Anglois,'  which  head  the  A  major  Suite  in  an  early  MS.,  have 
been  wrongly  interpreted  as  applying  to  the  whole  set  of  six.     They 
merely  indicate  Dieupart's  borrowed  Gigue.     See  Grove,  vol.  i.  701, 
and  Parry,  '  J.  S.  Bach,'  p.  463.     A  copy  of  the  work  exists,  of  date 
1724-27,  made  by  one  of  Bach's  pupils.     But  the  composition  of  the 
Suites  may  certainly  be  assigned  to  the  Cothen  period.     They  are 
published  in  P.  bks.  203,  204. 

2  The  French  Suites  undoubtedly  date  back  to  the  Cothen  period, 
since  they  figure,  though  incomplete,  in  the  '  Notenbuch  '  of  A.  M.  Bach 
(1722).    They  are  published  in  P.  bk.  202. 


BACH'S  COMPOSITIONS  129 

only  consonant  intervals,   especially  thirds   and 
sixths,  are  used. 

These  are  Bach's  principal  works  for  the  Clavier 
which  can  be  considered  classics.1  A  great  number 
of  single  Suites,2  Toccatas  and  Fugues,3  besides 
those  already  mentioned,  have  great  and  varying 
merit,  but  are  youthful  works.4  At  the  most, 
ten  or  twelve  of  them  seem  to  me  worth  preserving, 
some  of  them  because  they  would  be  useful  as 
finger  exercises,  for  which  their  author  originally 
intended  them,  others  because  they  are  at  least 
better  than  similar  works  by  other  composers. 
As  an  exercise  for  the  fingers  of  both  hands  I 
particularly  single  out  a  Fugue  in  A  minor,5  in 
which  the  composer  has  been  at  great  pains  to 
write  florid  passages  in  order  to  give  equal 
strength  and  suppleness  to  both  hands.  For 
beginners  a  little  two-part  Fugue  6  should  also 
prove  useful.  It  is  melodious,  flowing,  and  not 
at  all  old-fashioned. 

1  Forkel's  incomplete  catalogue  may  be  compared  with  the  Bach- 
gesellschaft  volumes  in.,  xm.  (2),  xiv.,  xxv.  (1),  xxxi.  (2),  xxxvi.,  XLH., 
XT.TTT.  (1  and  2),  XLV.  (1).     See  generally  Schweitzer,  ch.  15,  and  Pirro, 
pp.  218  ff. 

2  P.  bks.  205,  206,  208,  212  (fragment  in  F  minor),   214,  216, 
1959. 

3  P.  bks.  200,  210,  211,  212,  214,  215,  1959. 

4  For    the   most   part   these   youthful   works   will   be   found   in 
E.G.  xxxvi. 

5  P.  bk.  207  p.  16. 

6  In  C  minor  (P.  bk.  200  p.  10). 


130         JOHANN  SEBASTIAN  BACH 

II.  MUSIC  FOE  THE  CLAVIER  WITH  OTHER 
INSTRUMENTS 

1.  Six  Sonatas  for  Clavier  with  Violin  obbligato. 
Composed   at   Cothen,    they   are   among   Bach's 
masterpieces  in  this  form  and  display  fugal  and 
canonic  writing  which  is  both  natural  and  full  of 
character.     The  Violin  part  needs  a  master  to 
play  it ;    for  Bach  knew  the  capabilities  of  the 
instrument  and  spared  it  as  little  as  the  Clavier. 
The  six  Sonatas  are  hi  the  keys  of  B  minor,  A 
major,  E  major,  C  minor,  F  minor,  and  G  major.1 

2.  Several  Sonatas  for  Harpsichord  and  Violin,2 
Harpsichord   and   Flute,*   Harpsichord   and    Viol 
da    Gamba.*    They   are    admirably   written   and 
most  of  them  are  pleasant  to  listen  to  even  to- 
day.5 

3.  Several  Concertos  for  the  Clavier  and  other 
instruments.     They    contain    real    gems    of    art 
but  are  antiquated  in  form.6 

1  In  P.  bks.  232,  233. 

1  Suite  in  A  major  (P.  bk.  236),  Sonata  in  E  minor  (P.  bk.  236), 
Fugue  in  G  minor  (P.  bk.  236),  four  Inventions  (P.  bk.  2957),  Sonata 
in  G  minor  (BG.  ix.  274 ;  not  in  P.),  Sonata  in  C  major  for  2  Violins 
and  Clavier  (P.  bk.  237). 

*  There  are  six  Sonatas  for  Flute  and  Clavier,  in  B  minor,  E  flat 
major,  A  minor,  C  major,  E  minor,  E  major  (P.  bks.  234,  235). 

*  There  are  three  Sonatas  for  Clavier  and  Gamba,  in  G  major, 
D  major,  G  minor  (P.  bk.  239). 

8  Forkel  omits  two  Sonatas  for  Violin,  Flute,  and  Clavier,  in  G  major 
and  C  minor  (both  in  P.  bk.  237). 

*  As  Forkol  mentions  in  sees.  4,  5,  6  the  Concertos  for  two,  three, 
and  four  Claviers,  perhaps  he  had  in  mind  here  seven  Concertos  for 
Clavier  and  Orchestra  (P.  bks.  248-254).     A  Concerto  for  Clavier, 


BACH'S  COMPOSITIONS  131 

4.  Two  Concertos  for  two  Claviers,  with  an 
accompaniment  of  two  Violins,  Viola,  and 
Violoncello.  The  first,  in  C  minor,1  has  an  antique 
flavour.  But  the  second,  in  C  major,2  is  as  fresh 
as  if  it  had  been  written  yesterday.3  It  may 
be  played  without  the  String  quartet  and  still 
sounds  admirable.  The  final  Allegro  is  a  majestic 
movement  and  strictly  fugal.  Compositions  of 
this  form  were  first  perfected,  indeed,  we  may 
conjecture,  were  first  attempted,  by  Bach.  At 
least,  I  have  met  with  only  a  single  example  by 
another  composer  that  may  perhaps  be  older — 
namely,  Pachelbel  of  Niirnberg's  Toccata,  as  he 
called  it.  Pachelbel,  however,  was  a  contemporary 
of  Bach  and  may  have  taken  the  idea  from  him. 
However,  his  work  is  not  worth  considering.  One 
instrument  merely  repeats  the  other's  phrases 
without  being  at  all  concertante.  It  almost 
seems  as  if  Bach  at  this  period  had  made  up  his 
mind  to  discover  what  could  be  done  with  any 
number  of  parts.  Having  already  written  for  a 

Violin,  Flute,  and  Orchestra  (P.  bk.  255  p.  4)  in  A  minor  also  should  be 
mentioned.  Also  an  Overture,  in  G  minor,  for  Oavier  and  Strings 
(E.G.  XLV.  (1)  p.  190;  not  in  P.) 

1  P.  bk.  257  p.  4.  *  P.  bk.  256  p.  4. 

3  There  are,  in  fact,  three  Concertos  for  two  Claviers  and  Orchestra  : 
two  in  C  minor  and  one  in  C  major.  Forkel  refers  to  only  one  of  the 
former  and  regards  it  as  antiquated  by  comparison  with  the  one  in 
C  major.  Spitta  (iii.  144)  attributes  the  C  major  to  1730.  Forkel's 
C  minor  in  its  original  form  was  a  Concerto  for  two  Violins,  now  lost. 
The  other  C  minor  Concerto  is  identical  with  ihe  Concerto  in  D  minor 
for  two  Violins  and  is  in  P.  257b.  Spitta  (iii.  138)  dates  it  1736. 
See  Schweitzer,  i.  413. 


132         JOHANN  SEBASTIAN  BACH 

single  solo  instrument  music  which  required  no 
accompaniment,  he  next  experimented  in  dividing 
his  material  between  as  large  a  number  of  solo 
instruments  as  possible.  Hence  the  Concertos 
for  two  Claviers  were  followed  by 

5.  Two   Concertos  for   three    Claviers   with    an 
accompaniment    of    Strings.1      These    Concertos 
present    a    remarkable     characteristic :     besides 
the  concertante  combination  of  three  Claviers,  the 
stringed  instruments  also  have  concertante  parts 
distinct  from  the  accompaniment.     It  is  difficult 
to  realise  the  art  involved  in  this  achievement. 
For,   hi   spite  of   their   technical   skill,   the   two 
works    are    so    delicate,   full   of    character,    and 
expressive,  that  the  composer  might  be  treating 
a  simple  melody  (note  particularly  the  Concerto 
in  D  minor).     Words  are  inadequate  to  express 
the  admiration  they  arouse.     But  Bach  was  not 
satisfied.     Hence  he  wrote 

6.  A  Concerto  for  four  Claviers  and  four  stringed 
instruments.2     I  cannot  judge  the  effect  of  this 
composition,  for  I  have  never  been  able  to  get 
together  the  four  instruments  and  four  performers 

1  In  D  minor  and  C  major  (P.  bks.  258,  259).    The  tradition  is  that 
Bach  wrote  these  two  Concertos  in  order  to  play  them  with  his  elder 
sons.     Spitta  (iii.  144)  finds  the  tradition  trustworthy.     Hence  the 
two  works  must  have  been  written  by  c,  1733  at  latest,  before  the  sons 
left  home.     See  also  Schweitzer,  i.  414. 

2  In  A  minor  (P.  bk.  260).     This  is  not  an  original  composition,  but 
is  an  arrangement  by  Bach  of  a  Vivaldi  Concerto  for  four  Violins. 
Spitta  (iii.  149)  assigns  it  to  the  same  period  as  the  Concertos  for  three 
Claviers,  c.  1733.    See  E.G.  XLUI.  (1)  infra. 


BACH'S  COMPOSITIONS  133 

it  requires.     But  that  it  is  admirably  written  can 
be  seen  from  the  parts. 

III.  COMPOSITIONS  FOR  THE  ORGAN 
The  pedal  is  the  distinctive  feature  of  the  Organ 
which  places  it  above)all  other  instruments,  jind 
gives  it  its  magnificence,  sonority,  and  majesty. 
Deprive  it  of  the  pedal  and  you  take  from  it  the 
solemn  and  imposing  tones  which  are  its  dis- 
tinctive utterance,  reducing  it  to  the  level  of  a 
'positiv,'  or  Chamber-organ,  an  instrument  re- 
latively insignificant. 

But  an  Organ  equipped  with  a  pedal  must  be 
able  to  employ  it  in  its  full  compass,1  and  both 
composer  and  organist  must  know  the  proper  use 
of  it.  No  one  excelled  Bach  in  this  knowledge. 
Not  only  is  his  rich  harmony  and  melody  singu-_ 
larly  adapted  to  the  mstrument,  but  he  gave  the 
pedal  a  part  of  its  own,  even  in  his  early  com- 
positions. Yet  it  was  only  gradually  that  he 
mastered  its  technique;  for  his  Organ  master- 
pieces belong  to  the  period  in  which  those  for  the 
Clavier  began  to  be  classics.  His  early  and  im- 
mature Organ  works  are  widely  dispersed  ;  for 
as  soon  as  a  composer  begins  to  be  distinguished 
everybody  is  anxious  to  possess  a  specimen  of  his 
art.  Public  curiosity,  however,  generally  dies 
down  long  before  a  composer  comes  to  maturity, 

1  The  pedal  on  the  small  German  Organ  had  only  the  compass  of 
an  octave. 


134          JOHANN  SEBASTIAN  BACH 

particularly  if  his  work  is  over  the  heads  of  the 
public.  And  this  seems  to  have  been  Bach's 
fortune.  Consequently  his  mature  Organ  works 
are  less  familiar  than  his  early  efforts.  The  latter, 
however,  cannot  possibly  be  admitted  to  a  '  correct 
arid  critical '  edition  of  his  works,  and  I  mention  here 
only  those  whose  merit  is  as  incontestable  as  that 
of  the  Clavier  works  enumerated  in  the  preceding 
paragraphs. 

Bach's  finest  Organ  music  falls  into  three 
groups  : 

1.  The  Or  eat  Preludes  and  Fugues,  with  obbligato 
pedal.  Their  number  cannot  be  stated,  but  I 
believe  it  not  to  exceed  a  dozen.1  At  least,  after 
prolonged  search  I  have  not  been  able  to  collect 
more  than  that  number.2  To  these  I  must  add 
a  very  clever  and  original  Passacaglia,  which, 

1  The  Great  Preludes  and  Fugues  are,  with  one  exception,  in  E.G.  xv. 
The  Prelude  and  Fugue  in  E  flat  was  published  by  Bach  in  the  third 
Part  of  the  '  Clavieriibung.'     Its  Fugue  is  known  as  the  '  St.  Anne's.' 

2  From  the  figures  printed  by  Forkel  the  twelve  can  be  identified 
as  follows  (the  references  in  parentheses  are  to  the  Novello  edition  of 
Bach's  Organ  works) : 

Prelude  and  Fugue  in  C  minor,  the  '  Great '  (bk.  vii.  64). 

Do.  do.       A  minor,    ,         do.      (bk.  vii.  42). 

Do.  do.       G  major,  do.      (bk.  viii.  112). 

Do.  do.       E  minor.  do.      (bk.  viii.  98). 

Do.  do.       B  minor,  do.      (bk.  vii.  62). 

Do.  do.       0  major.  do.       (bk.  ix.  156). 

Do.  do.       D  minor  (bk.  ix.  150). 

Do.  do.       C  major  (bk.  iii.  70). 

Toccata  and  Fugue  in  D  minor  (bk.  x.  196). 

Do.  do.       F  major  (bk.  ix.  176). 

Prelude  and  Fugue  in  G  minor  (bk.  viii.  120). 

Do.  do.      E  minor  (bk.  ii.  44). 


BACH'S  COMPOSITIONS  135 

however,  seems  suitable  rather  for  a  two-manual 
Clavicembalo  and  pedal  than  for  the  Organ.1 

2.  Preludes  on  Choral  Melodies.  It  was  at 
Arnstadt  that  Bach  began  to  compose  Variations 
on  Choral  melodies,  under  the  title  '  Partite 
diverse.'  2  Most  of  them  can  be  played  on  the 
manuals  alone.  Those  which  I  include  here  are 
an  exception  and  require  the  obbligato  pedal. 
Their  number  may  amount  to  one  hundred.  I 
myself  possess  above  seventy,  and  more  survive 
elsewhere.3  No  other  Choral  Preludes  approach 

1  The  Passacaglia  in  C  minor  (Novello  bk.  10  p.  214)  was  written 
originally  for  the  Clavicembalo  and  pedal.     It  belongs  to  the  later 
Weimar  period,  i.e.  circ.  1715.     See  Spitta,  i.  588  and  Schweitzer,  i.  280. 

2  They  are  all  printed  in  Novello  bk.  19,  and  are  three  in  number, 
on  the  melodies  '  Christ,  der  du  bist  der  helle  Tag,' '  O  Gott,  du  frommer 
Gott,'  and  '  Sei  gegriisset,  Jesu  gutig.'    The  pedal  is  only  required  in 
one  movement  of  the  first,  in  none  of  the  second,  and  considerably  in 
the  third.    Without   question   all   three  date  from   Bach's  earliest 
period,  but  whether  they  were  written  at  Arnstadt  or  Liineburg  cannot 
be  stated. 

8  The  fullest  collection  of  these  miscellaneous  Organ  Choral  Preludes 
is  in  E.G.  XL.  Not  counting  variant  readings  they  number  fifty- 
two,  besides  two  fragments  and  thirteen  of  doubtful  authenticity, 
of  which  two  are  sets  of  Variations.  The  Novello  edition  contains 
fifty-two  in  bks.  18  and  19.  To  these  must  be  added  the  '  Eighteen  ' 
Preludes  on  Choral  Melodies,  which  Forkel  nowhere  mentions,  as  well 
as  the  third  Part  of  the  '  Clavieriibung,'  the  '  Schubler  Chorals,'  and 
the  Variations  on  '  Vom  Himmel  hoch,'  to  which  he  has  already  made 
reference  in  the  first  section  of  this  chapter.  As  he  does  not  mention 
it  specifically,  it  is  to  be  inferred  that  Forkel  was  ignorant  of  the  exist- 
ence  of  the  '  Orgelbuchlein  ' ;  otherwise  he  could  hardly  have  failed 
to  introduce  it  in  this  section.  All  Bach's  Choral  Preludes,  mis- 
cellaneous and  in  collections  made  by  himself,  are  in  Novello's 
edition,  bks.  15-19.  A  useful  key  to  their  melodies  is  provided  by 
bk.  20.  For  more  detailed  information  see  Terry,  '  Bach's  Chorals/ 
Part  in. 


136          JOHANN  SEBASTIAN  BACH 

them  in  religious  feeling,  dignity,  and  sublimity  of 
expression.  I  cannot  notice  them  individually  ; 
they  are  too  numerous.  Besides  the  larger,  there 
is  a  great  number  of  shorter  and  easier  ones, 
particularly  useful  for  young  players.  MSS.  of 
them  exist  in  considerable  number.1 

3.  Six  Sonatas,  or  Trios,  for  two  manuals  and 
an  obbligato  pedal.2  Bach  wrote  them  for  his 
eldest  son,  Wilhelm  Friedemann,  whom  they 
helped  to  become  Jbhe  great  performer  he  was 
when  I  knew  him.  '-  It  is  impossible  to  overpraise 
their  beauty.  Bach  composed  them  when  he  was 
in  the  full  vigour  of  his  powers,  and  they  may  be 
considered  his  chef  cTceuvre  in  this  form.8  He  also 
wrote  other  Organ  Sonatas,  the  MSS.  'of  which  are 
in  various  collections.  They  are  fine  composi- 
tions, though  they  do  not  equal  the  Six  in  merit.4 


1  The  large  number  of  MSS.  of  many  of  the  miscellaneous  Preludes 
is  made  evident  in  the  introduction  to  B.G.  XL. 

2  The  Sonatas  in  E  flat  major,  C  minor,  and  D  minor  are  in  N. 
bk.  4  ;  E  minor,  C  major,  G  major  in  N.  bk.  5. 

3  The  so-called  '  Sonatas  '  were  actually  written  for  a  Clavicembalo 
with  two  manuals  and  a  pedal.     Bach's  Autograph  of  them  belonged  to 
his  second  son  and  an  earlier  copy  of  them  to  Wilhelm  Friedemann. 
Both  are  now  in  the  Berlin  Royal  Library.     Friedemann  went  to 
Dresden  as  Organist  in  1733  and  Spitta  is  of  opinion  that  the  whole 
of  the  six  Sonatas  were  in  existence  by  or  soon  after  1727.     If  so, 
they  must  be  regarded  as  the  outcome  of  Bach's  early  years  at 
Leipzig.     See  Spitta,  iii.  212  ff.  and  Schweitzer,  i.  278. 

*  None  are  extant.  Spitta,  iii.  213  n.,  conjectures  that  Forkel 
refers  to  the  Trios  in  D  minor  and  C  minor  (N.  bks.  2  p.  54,  12  p. 
108)  and  the  Pastorale  in  F  major  (N.  bk.  12  p.  102.)  His  incom- 
plete knowledge  of  the  Organ  works  is  revealed  by  Appendix  v. 
infra. 


BACH'S  COMPOSITIONS  137 


IV.  INSTRUMENTAL  Music 

There  are  few  instruments  for  which  Bach  did 
not  write.  In  his  day  it  was  usual  to  play  a 
Concerto  or  instrumental  Solo  during  the  Com- 
munion office.1  Bach  composed  many  of  these 
pieces  himself,  and  always  with  a  view  to  their 
improving  the  technique  of  the  player.  Most  of 
them  are  lost.  But  two  important  works  of 
another  kind  survive  and  to  some  extent  compen- 
sate us.  They  are : 

1.  Six  Solos  for  Violin,  unaccompanied.2 

2.  Six  Solos  for  Violoncello,  unaccompanied.3 
The  Violin  Solos  have  long  been  considered  by 

the  finest  players  to  be  the  best  instructor  for  the 
instrument.  The  Violoncello  Solos  are  equally 
effective.4 

1  This  is  a  pure  conjecture  and  Schweitzer  scouts  it  (i.  416  n.). 

8  The  oldest  copy  of  them  dates  from  circ.  1720;  they  belong 
therefore  to  the  late  Cothen  period.  The  1720  MS.  is  in  A.  M.  Bach's 
handwriting  and  was  discovered  in  1814  at  Petrograd  among  old 
papers  about  to  be  sent  away  to  a  butter  dealer.  The  Sonatas  are  in 
P.  bk.  228. 

3  They  also  date  from  the  Cothen  period  and  are  in  P.  bk.  238a, 
238b. 

*  Forkel  omits  to  mention  the  Brandenburg  Concertos  (P.  bks.  261- 
266) ;  the  Overtures  in  C  major  (P.  bk.  267),  B  minor  (P.  bk.  268), 
D  major  (P.  bk.  269),  D  major  (P.  bk.  2068) ;  and  the  Violin  Concertos 
in  A  minor  (P.  bk.  229),  E  major  (P.  bk.  230),  and  (for  two  Violins) 
in  D  minor  (P.  bk.  231).  In  B.G.  xxi.  (1)  is  a  Symphonic  movement,  in 
D  major,  for  Violin  and  orchestra.  A  Sinfonia  in  F  major  (B.G.  xxxi. 
96)  is  another  version  of  the  first  Brandenburg  Concerto.  The 
Clavier  Concertos  have  been  mentioned  supra. 


138          JOHANN  SEBASTIAN  BACH 

V.  VOCAL  Music 

1.  Five  complete  sets  of  church  Cantatas  for 
the  Sundays  and  Festivals  of  the  year.1 

2.  Five  compositions  for  Holy  Week,  one  of 
which  is  for  double  chorus.2 

3.  Several  Oratorios,3  Masses,4  a  '  Magnificat,' 

1  The  set  of  five  is  complete  only  for  Christmas  Day,  Feast  of  the 
Circumcision,  Whitsunday  (one  of  the  five  is  of  doubtful  authenticity), 
Purification  of  the  B.V.M.,  and  Feast  of  St.  Michael  the  Archangel. 
See  Terry,  '  Bach's  Chorals,'  Part  II.  2  ff. 

2  In  giving  the  number  of  '  Passions '  as  five,  Forkel  repeats  the 
statement  of  the  '  Nekrolog.'     The  number  corresponds  with  the  five 
sets  of  Church  Cantatas  which  Bach  is  known  to  have  written.     It 
is,  however,  exceedingly  doubtful  whether  Bach  wrote  more  than  four 
'  Passions.'     Only  those  according  to  St.  Matthew  and  St.  John  have 
come  down  to  us  from  C.  P.  E.  Bach,  who  was  left  the  Autographs  of  both 
by  his  father.    The  '  St.  John  Passion '  was  first  performed  in  1724 
and  the  '  St.  Matthew  Passion '  in  1729.     Picander,  Bach's  librettist, 
certainly  wrote  two  other  Passion  texts,  one  of  which  was  written  for 
Good  Friday  1725,  and  the  second,  based  on  St.  Mark's  Gospel,  was 
actually  performed  at  St.  Thomas',  Leipzig,  on  Good  Friday  1731. 
Spitta  (ii.  505)  gives  good  reason  to  hold  that  Bach's  music  for  this 
Passion  was  adapted  from  the  '  Trauer-Ode,'  which  he  had  written 
in  1727  in  memory  of  Queen  Christiane  Eberhardine.     But  of  the  1725 
'  Passion  '  there  is  no  trace.     If  it  ever  existed,  its  loss  probably  may 
be  assigned  to  Wilhelm  Friedemann's  carelessness,  to  whom  presum- 
ably it  was  assigned  in  the  division  of  Bach's  property  after  his  death. 
But  even  so,  we  have  no  more  than  four  '  Passions.'     There  exists, 
however,  a  fifth  '  Passion  according  to  St.  Luke,'  which  is  undoubtedly 
in  Bach's  Autograph,  and  which  Spitta  is  inclined  to  attribute  to  Bach 
himself.     It  is  published  by  Breitkopf  and  Haertel,  but  is  generally 
regarded  as  being  by  another  composer  than  Bach,  who  probably 
copied  it  for  use  at  Leipzig.     On  the  whole  matter  see  Spitta,  ii.  504  fi., 
Schweitzer,  chap,  xxvi.,  and  the  Bach-Jahrbuch  for  1911  (Publications 
of  the  New  Bachgesellschaft  xn.  (2)). 

8  Other  than  the  '  Passions,'  the  only  Oratorios  are  the  '  Christmas 
Oratorio'  (1734),  the  'Easter  Oratorio'  (c.  1736),  and  'Ascension 
Oratorio '  (c.  1735). 

*  Besides  the  B  minor  Mass  (1733-?  38)  Bach  wrote  four  miscalled 


BACH'S  COMPOSITIONS  139 

settings  of  the  *  Sanctus,1  compositions  for  birth- 
days and  Saints'  Days,2  funerals,3  marriages,4  and 
some  Italian  Cantatas.5 

4.  Several  Motets  for  single  and  double 
chorus.6 

Most  of  these  works  are  now  dispersed.  The 
Church  Cantatas  were  divided  between  his  elder 
sons  after  their  composer's  death.  Wilhelm 
Friedemann  had  the  larger  share  because,  being 
organist  at  Halle,  he  could  make  use  of  them. 
Later,  circumstances  compelled  him  to  part  with 
them  gradually.  I  know  of  no  other  collection  of 
Bach's  larger  choral  works.  There  exist,  however, 
eight  or  ten  Motets  for  double  chorus,  but  they 
are  dispersed  in  various  hands.7  In  the  collection 

'  short '  Masses,  in  F  major,  A  major,  G  minor,  and  G  major.  They 
all  belong  to  the  Leipzig  period  (c.  1739). 

1  Besides  the  setting  of  the  Sanctus  in  the  B  minor  Mass  there  are 
four  detached  settings,  in  C  major,  D  major,  D  minor,  and  G  major. 
Of  these  only  that  in  D  major  is  probably  by  Bach  (c.  1723). 

2  The  music  for  Saints'  Days  is  included  in  the  church  Cantatas. 
For  the  Birthday  Odes  see  supra,  Chap.  !!A. 

3  Besides  the  '  Trauer-Ode,'  three  or  four  of  the  church  Cantatas 
and  certainly  three  of  the  Motets  were  written  for  funerals.    See 
Terry,  op.  cit.,  pp.  24,  44. 

*  Among  the  church  Cantatas  there  are  at  least  five  for  use  at 
weddings.  Bach  wrote  also  three  secular  wedding  Cantatas :  '  Weichet 
nur,  betriibte  Schatten '  (c.  1730) ;  '  O  holder  Tag '  (T  1749) ;  the  third 
(1728)  has  disappeared. 

8  Two  Italian  Cantatas — '  Amore  traditore '  and  '  Non  sa  che  sia 
dolore  ' — have  come  down  to  us.    A  third, '  Andro  dall  colle  al  prato,' 
is  lost.    See  E.G.  xi.  (ii.),  xxrs. 

9  Only  six  are  genuine.    See  infra,  p.  141. 

7  Of  the  Motets  that  have  come  down  to  us  as  his,  only  six  are 
Bach's.  Forkel  mentions  five  of  them  in  sees,  7  and  8  of  the  next 


140          JOHANN  SEBASTIAN  BACH 

bequeathed  by  the  Princess  Amalia  of  Prussia 
to  the  Joachimsthal  Gymnasium  at  Berlin  there 
are  some  of  Bach's  vocal  compositions.1  Their 
number  is  not  considerable,  but  among  them  are 
the  following  : 

1.  Twenty-one  Church  Cantatas.2      In  one  of 
them,  set  to  the  words,  '  Schlage  doch,  gewiinschte 
Stunde,'  3  the  composer  introduces  a  bell  obbligato. 
From  that  fact  we  may  conclude  that  the  Cantata 
was  not  composed  hi  the  period  of  Bach's  matur- 
ity,4 for  the  use  of  bells  is  of  doubtful  taste. 

2.  Two  Masses  for  five  voices  with  instrumental 
accompaniment. 5 

3.  A  Mass  for  double  chorus,  the  first  being 

paragraph ;  he  omits  '  Lobet  den  Herrn,  alle  Heiden.'  In  1802-3 
Breitkopf  and  Haertel  published  six  Motets — the  five  mentioned  by 
Forkel  and  another,  '  Ich  lasse  dich  nicht,'  of  which  Bach  made  a 
copy,  but  whose  composer  actually  was  Johann  Christoph  Bach.  We 
know  that  Bach  composed  at  least  one  Latin  Motet  for  double  chorus, 
and  Friedemann's  share  of  his  father's  autographs  may  have  con- 
tained it  and  others  known  to  Forkel  but  no  longer  extant. 

1  The  Amalienbibliothek  of  the  Joachimsthal  Gymnasium,  Berlin, 
contains  one  of  the  most  important  Bach  collections,  but  it  has  long 
been  superseded  by  the  Royal  Library  there  as  the  chief  repository 
of  Bach's  Autographs. 

2  The  Amalienbibliothek  has  only  one  Autograph,  namely,  Cantata 
34,  '  0  ewiges  Feuer.'    The  rest  are  early  copies. 

3  Cantata  53.    No  Autograph  of  this  Cantata  exists,  and  the  copies 
from  which  the  B.G.  edition  was  printed  are  in  the  Amalienbibliothek. 

4  On  the  contrary,  the  Cantata   belongs  to  the   Leipzig   period, 
1723-34. 

6  None  of  the  four  '  short '  Masses  is  in  five  parts.  All  have  instru- 
mental accompaniments.  The  autograph  scores  of  the  Masses  in 
A  major  and  G  major  are  in  Messrs.  Breitkopf  and  HaertePs  possession. 
Copies  of  the  other  two  scores,  in  Altnikol's  handwriting,  are  in  the 
Berlin  Royal  Library.  See  Introduction  to  B.G.  vm. 


BACH'S  COMPOSITIONS  141 

accompanied  by  Strings  and  the  second  by  wind 
instruments.1 

4.  A  *  Passion,'  for  double  Chorus,2  the  text  by 
Picander.3 

5.  A    *  Sanctus,'    for   four   voices   and   instru- 
mental accompaniment.4 

6.  A  Motet,  for  four  voices,  '  Aus  tiefer  Noth 
schrei  ich  zu  dir.'  5 

7.  A  Motet  for  five  voices,  *  Jesu,  meine  Freude.' 

8.  Four   Motets,    for   eight   voices   in   double 

chorus : 

(a)  '  Fiirchte  dich  nicht,  ich  bin  dei  dir.' 
(6)  '  Der    Geist    hilft    unserer    Schwachheit 
auf.' 

(c)  '  Komnij  Jesu,  komm.' 

(d)  *  Singet  dem  Herrn  ein  neues  Lied.'  6 

9.  A  detached  four-part  fugal  chorus,  '  Nimm 
was  dein  ist,  und  gehe  hin.' 7 

1  An  eight-part  Mass  in  G  was  performed  at  a  Leipzig  Gewandhaus 
Concert  on  March  7,  1805,  and  was  published  later  in   the  year  by 
Breitkopf  and  Haertel.    The  score  is  admittedly,  for  the  greater  part 
of  the  work,  in  Bach's  hand  and  is  in  the  Berlin  Royal  Library.     The 
publication  of  the  work  was  under  consideration  by  the  Bachgesell- 
schaft  in  1858.     That  it  is  not  by  Bach  is  generally  held.     It  has  been 
attributed  to  Johann  Ludwig  Bach  (d.  1741 ).    See  Genealogical  Table  n. 

2  The  '  St.  Matthew  Passion.' 

3  A  nom  de  plume  for  Christian  Friedrich  Henrici  (1700-64),  who 
wrote  a  large  number  of  Bach's  Leipzig  texts. 

•  Perhaps  Forkel  indicates  the  short  Sanctus  in  Richter's  edition  of 
the  Choralgesdnge,  No.  123,  or  that  in  E.G.  m.  p.  177. 

6  This  is  the  first  Chorus  of  Cantata  No.  38.     It  is  printed  as  a 
separate  Motet  in  Erk,  No.  150. 

•  Forkel's  list  is  complete  except  for  '  Lobet  den  Herrn,  alle  Heiden.' 

7  The  opening  Chorus  of  Cantata  144. 


142          JOHANN  SEBASTIAN  BACH 

10.  A  bucolic  Cantata,  with  Recitatives,  Aria, 
Duet,  and  Chorus.  A  note  is  prefixed  to  it.1 

On  the  MS.  of  the  last-named  Cantata  and  of 
the  Mass  for  double  chorus  (No.  3  supra)  there  is 
a  note  by  Kirnberger  analysing  the  skill  and  merit 
of  the  compositions. 

1  Forkel  refers  to  the  '  Peasant  Cantata,'  or  '  Mer  hahn  en  neue 
Oberkeet,'  performed  on  August  30,  1742.  Forkel  clearly  was  not 
familiar  with  Bach's  other  secular  Cantatas.  See  E.G.  xi.  (ii.),  xx.  (ii.), 
xxix.  The  Autograph  score  of  the  Peasant  Cantata  is  in  the  Berlin 
Royal  Library. 


CHAPTER  X 

BACH'S  MANUSCRIPTS 

IT  has  been  remarked  more  than  once  that  Bach, 
throughout  his  life,  devoted  much  thought  to  the 
improvement  of  his  compositions.  I  have  had 
frequent  occasion  to  compare  the  original  and 
subsequent  texts  of  his  works,  and  confess  to  have 
experienced  both  surprise  and  pleasure  in  observing 
his  care  to  improve  whatever  he  thought  faulty, 
to  make  good  better,  and  better  perfect.  Nothing 
is  more  instructive  than  a  collation  of  this  kind, 
whether  to  the  experienced  musician  or  the  in- 
structed amateur.  I  should  like  to  see  a  supple- 
ment to  the  complete  edition  of  Bach's  works 
showing  these  variant  readings.1  The  collation 
would  be  in  the  highest  degree  instructive,  and  to 
attempt  it  is  as  appropriate  to  the  works  of  the 
composer,  a  poet  in  sound,  as  to  those  of  the  poet 
in  words. 

In  Bach's  early  texts  he  often  repeats  a  phrase 
to  other  words  with  some  melodic  variety,  in  a 

1  Forkel's  suggestion  was  carried  out,  with  varying  thoroughness 
in  the  Bachgesellschaft  edition. 

us 


144          JOHANN  SEBASTIAN  BACH 

lower  or  even  in  the  same  octave.  In  his  riper 
experience  he  could  not  tolerate  such  poverty  of 
workmanship,  and  cut  out  these  passages  remorse- 
lessly, without  regard  for  the  number  and  quality 
of  the  persons  who  had  approved  them  in  their 
original  state.  There  occur  to  me  two  good 
examples  of  this,  the  C  major  and  C  sharp  minor 
Preludes  in  the  first  part  of  the  '  Well-tempered 
Clavier.5  Bach  revised  them  so  drastically  as  to 
cut  them  down  by  one-half,  sacrificing  passages 
that  he  thought  redundant.1 

In  other  places  Bach  tends  to  be  over-concise  ; 
he  expresses  an  idea,  but  does  not  fully  develop  it. 
The  best  illustration  that  occurs  to  me  is  the 
D  minor  Prelude  in  the  second  part  of  the  '  Well- 
tempered  Clavier.'  I  possess  several  texts  of  it. 
In  the  oldest  the  first  transposition  of  the  theme 
in  the  Bass  and  several  other  details  essential  to 
a  complete  development  of  the  idea  are  wanting. 
A  second  MS.  gives  the  theme  to  the  Bass  wherever 
the  latter  is  in  a  key  nearly  related  to  that  of  the 
tonic.  In  a  third  MS.  these  addenda  are  de- 
veloped more  fully  and  are  joined  more  skilfully. 
But  melodic  details  are  present  of  doubtful 
relevance  to  the  rest  of  the  composition.  In  a 
fourth  MS.  these  disappear  or  are  amended,  so 
that,  as  we  have  it,  the  Prelude  stands  as  one  of 
the  most  beautiful  and  least  faulty  in  the  '  Well- 
tempered  Clavier.'  Many  people,  no  doubt,  pre- 

1  ForkePs  judgment  is  at  fault.     See  Schweitzer,  i.  336. 


BACH'S  MANUSCRIPTS  145 

ferred  the  movement  in  its  original  form.  But 
Bach  was  not  a  man  to  be  influenced  by  approba- 
tion or  criticism.  He  went  on  correcting  until 
he  satisfied  himself. 

In  the  early  part  of  the  seventeenth  century  it 
was  the  fashion  in  instrumental  music  to  overload 
single  notes  with  ornaments  and  add  florid  runs. 
Lately  it  has  become  the  fashion  to  do  so  in  vocal 
music  as  well.  That  Bach  shared  this  disposition 
may  be  inferred  from  certain  pieces  that  he  wrote 
in  this  style.  An  instance  is  the  Prelude  in 
E  minor  in  the  first  part  of  the  '  Well-tempered 
Clavier.'  But  he  soon  returned  to  his  natural 
better  taste,  and  altered  the  movement  to  the 
form  in  which  it  is  engraved.1 

Every  decade  has  its  own  style  of  melody,  dis- 
tinctive of  itself  and  evanescent.  A  composer 
must  carefully  avoid  it  if  he  hopes  to  be  listened 
to  by  posterity.  In  his  young  days  even  Bach 
ran  upon  this  rock.  His  early  compositions  for 
the  Organ,  and  the  two-part  '  Inventions  '  in  their 
original  form,  are  full  of  fiorituri  such  as  the  taste 
of  his  period  approved.  His  Organ  compositions 
remain  comparatively  untouched,  but  the  *  In- 
ventions '  he  closely  revised.  The  public  will  soon 
be  able  to  compare  them  in  their  first  and  later 
forms,  as  the  publishers,  with  admirable  spirit, 
have  resolved  to  discontinue  the  present  edition 

1  Also  in  Wilhelm  Friedemann's  '  Clavierbiichlein.'    See  Schweitzer, 
i.  279 ;  Spitta,  ii.  165. 

K 


146          JOHANN  SEBASTIAN  BACH 

and  to  send  out  to  subscribers  a  revised  one  based 
on  Bach's  corrected  text. 

Bach's  processes  of  revision  so  far  mentioned, 
however,  merely  correct  faults  of  form,  that  is, 
diffuseness  or  incomplete  development  of  a  musical 
thought.  But  Bach  employed  other  methods 
which  are  less  easy  to  describe  because  they  are 
more  subtle.  He  often  rivets  the  style  and  char- 
acter of  a  piece  by  changing  a  single  note,  strictly 
correct  grammatically  and  yet  disagreeable  to  an 
artist  such  as  himself.  Even  commonplace  pas- 
sages he  could  convert  into  phrases  of  beauty  by 
the  addition  or  alteration  of  a  single  note.  Only 
the  most  sensitive  taste  and  trained  experience 
can  decide  in  such  cases,  and  Bach  possessed  both 
in  the  highest  perfection.  He  developed  them  to 
such  a  pitch,  indeed,  that  his  brain  eventually 
rejected  any  idea  which,  in  all  its  properties  and 
relations,  did  not  accord  inevitably  and  naturally 
with  the  whole  composition.  Consequently  his 
later  works  display  such  consistency  of  merit  that 
all  of  them  seem  to  have  been  cast  complete 
in  a  mould,  so  smooth,  facile  and  abundant  is  the 
flow  of  his  rich  fancy.  It  is  on  the  highest  sum- 
mits of  the  art  that  harmony  and  melody  find 
their  ideal  union,  and  as  yet  Bach  dwells  there  in 
majestic  isolation. 


CHAPTER  XI 

THE   GENIUS   OF   BACH 

IT  is  surely  unnecessary  to  ask  whether  that  artist 
is  a  genius  who,  in  every  form  of  his  art,  has 
produced  masterpiece  after  masterpiece,  of  an 
originality  which  sets  them  above  the  achieve- 
ments of  all  other  ages,  distinguished  also  by 
a  wealth  of  originality  and  agreeableness  that 
enslaves  every  hearer.  The  most  fertile  fancy, 
invention  inexhaustible,  a  judgment  so  nice  as  to 
reject  intuitively  every  irrelevant  and  jarring 
detail,  unerring  ingenuity  in  employing  the  most 
delicate  and  minute  resources  of  his  art,  along 
with  an  unrivalled  technique — these  qualities, 
whose  expression  demands  the  outpouring  of  a 
man's  whole  soul,  are  the  signboards  of  genius. 
The  man  who  cannot  find  them  in  Bach's  music 
either  is  not  acquainted  with  it  at  all  or  knows 
it  imperfectly.  One  needs  to  be  steeped  in  it 
thoroughly  to  appreciate  the  genius  of  its  author. 
For  the  greater  the  work  the  closer  study  is  de- 
manded for  its  apprehension.  The  butterfly 
method,  a  sip  here  and  there,  is  of  little  use. 
But  admirable  as  were  the  gifts  Bach  received 


148         JOHANN  SEBASTIAN  BACH 

from  nature,  he  could  never  have  become  an 
accomplished  genius  had  he  not  learned  betimes 
to  avoid  the  rocks  on  which  many  artists,  some  of 
them  perhaps  not  less  gifted  than  he,  too  often 
founder.  I  will  communicate  to  the  reader  some 
scattered  thoughts  on  the  subject  and  conclude 
this  essay  with  an  indication  of  the  character- 
istics of  Bach's  genius. 

Even  the  largest  natural  gifts,  coupled  with  the 
strongest  propensity  for  a  particular  art,  offer  no 
more  than  fruitful  soil  on  which  that  art  may 
thrive  by  patient  cultivation.  Industry,  the  true 
begetter  of  every  art  and  science,  is  an  indis- 
pensable factor.  Not  only  does  it  enable  genius 
to  master  technique,  but  it  stimulates  the  critical 
and  reflective  faculties  also.  The  very  ease  with 
which  genius  acquires  and  applies  the  apparatus 
of  musical  composition  frequently  entices  it  to 
leap  over  root  principles  in  its  plunge  into  deeper 
waters,  or  to  fly  before  its  wings  are  grown.  In 
such  a  case,  unless  genius  is  guided  back  to 
neglected  fundamentals  and  forced  to  build  itself 
upon  the  great  examples  of  the  past,  it  will  in- 
evitably expend  its  treasure  uselessly  and  never 
attain  to  its  promised  dimensions.  For  it  is  an 
axiom,  that  real  progress  can  never  be  made, 
nor  the  highest  perfection  be  attained,  if  the 
foundations  are  insecure.  If  arduous  heights  are 
to  be  achieved,  the  easier  obstacles  must  first  be 
approached  and  overcome.  Guided  by  his  own 


THE  GENIUS  OF  BACH  149 

inexperience  no  one  ever  can  hope  to  become 
great.  He  must  profit  by  the  practice  and  ex- 
ample of  others. 

Bach  did  not  founder  on  this  rock.  His  soaring 
genius  attended  an  equally  ardent  industry  which 
incessantly  impelled  him,  whenever  he  found  his 
own  equipment  insufficient,  to  seek  guidance  from 
others.  Vivaldi  and  his  Concertos  were  the  first 
from  whom  he  sought  counsel.  From  them  he 
turned  to  the  principal  Organ  and  Clavier  com- 
posers of  the  period.  Nothing  is  more  intel- 
lectually stimulating  than  counterpoint,  and  the 
composers  Bach  studied  were  distinguished  by 
their  mastery  of  it,  as  their  fugal  writing  attests. 
Hence  Bach's  diligent  study  and  imitation  of  them 
pointed  his  taste  and  imagination  to  perceive 
wherein  himself  was  lacking  and  what  steps  were 
needed  to  take  him  farther  in  his  art. 

A  second  rock  upon  which  genius  often  comes 
to  grief  is  the  public's  undiscriminating  applause. 
To  be  sure,  I  do  not  undervalue  public  approval 
or  commend  without  reserve  the  remark  of  a 
Greek  teacher  to  his  pupil,  '  You  performed  badly, 
otherwise  the  audience  would  not  have  applauded 
you.'  Yet  it  is  none  the  less  true  that  many 
artists  are  thrown  off  their  balance  by  exaggerated 
and  often  unmerited  plaudits,  particularly  in  their 
early  careers  before  they  have  acquired  self-dis- 
cipline and  sound  judgment.  The  public  merely 
asks  for  what  it  can  understand,  whereas  the  true 


150         JOHANN  SEBASTIAN  BACH 

artist  ought  to  aim  at  an  achievement  which 
cannot  be  measured  by  popular  standards.  How, 
then,  can  popular  applause  be  reconciled  with  the 
true  artist's  aspirations  towards  the  ideal  ?  Bach 
never  sought  applause,  and  held  with  Schiller  : 

Kannst  du  nicht  alien  gef  alien  durch  deine  That  und 

dein  Kunstwerk, 
Mach'  es  wenigen  recht ;  vielen  gef  alien  ist  schlimm.1 

Like  every  true  artist,  Bach  worked  to  please 
himself  in  his  own  way,  obeying  the  summons  of 
his  own  genius,  choosing  his  own  subjects,  and 
finding  satisfaction  only  in  the  approval  of  his 
own  judgment.  He  could  count  on  the  applause 
of  all  who  understood  good  music,  and  never 
failed  to  receive  it.  Under  what  other  conditions 
can  sound  works  of  art  emerge  ?  The  composer 
who  debases  his  muse  to  the  popular  mood  either 
lacks  real  genius  or,  having  it,  abuses  it.  For  to 
catch  the  ear  of  the  public  is  not  a  difficult  task 
and  merely  connotes  an  agreeable  facility.  Com- 
posers of  that  class  are  like  artisans  who  frankly 
fashion  their  goods  to  suit  their  market.  But 
Bach  never  condescended  to  such  artifices.  The 
artist,  in  his  judgment,  is  the  dictator  of  public 
taste,  not  its  slave.  If,  as  often  happened,  he  was 
asked  to  write  something  simple  for  the  Clavier 

1  *  Since  you  cannot  please  everybody  by  your  actions  and  work, 
strive  at  least  to  satisfy  a  few ;  popular  appreciation  encourages  bad 
art.'— Schiller's  '  Votiftafeln.' 


THE  GENIUS  OF  BACH  151 

he  would  answer,  '  I  will  do  what  I  can.'  He 
would  choose  an  easy  theme.  But  when  he  began 
to  develop  it  he  always  found  so  much  to  say 
that  the  piece  soon  became  anything  but  simple. 
If  his  attention  was  drawn  to  the  fact,  he  would 
answer  smilingly,  '  Practise  it  well  and  you  will 
find  it  quite  easy.  You  have  as  many  good  fingers 
on  each  hand  as  I  have.'  Nor  was  he  prompted 
in  this  by  mere  contradictoriness,  but  exhibited 
the  true  artist  spirit. 

It  was,  in  fact,  the  artist  temperament  that  led 
Bach  to  make  the  great  and  sublime  his  goal. 
For  that  reason  his  music  is  not  merely  agreeable, 
like  other  composers',  but  transports  us  to  the 
regions  of  the  ideal.  It  does  not  arrest  our  atten- 
tion momentarily  but  grips  us  the  stronger  the 
oftener  we  listen  to  it,  so  that  after  a  thousand 
hearings  its  treasures  are  still  unexhausted  and 
yield  fresh  beauties  to  excite  our  wonder.  Even 
the  beginner  who  knows  but  the  A  B  C  of  his  art 
warms  with  pleasure  when  he  hears  Bach's  music 
and  can  open  his  ear  and  heart  to  it.  It  was  the 
true  artist  spirit,  too,  that  guided  Bach  to  unite 
majesty  and  grandeur  of  design  with  meticulous 
care  for  detail  and  the  most  refined  elegance, 
characteristics  which  we  rather  seek,  perhaps,  in 
works  whose  object  is  merely  to  give  pleasure. 
Bach  held  strongly  that  if  the  strands  are  im- 
perfect, the  whole  design  is  faulty.  His  genius 
is  sublime  and  impressive,  and  he  never  conde- 


152          JOHANN  SEBASTIAN  BACH 

scends  to  be  frivolous  even  when  he  touches  the 
lighter  forms  of  art. 

To  conclude  :  it  was  the  union  of  astounding 
genius  and  indefatigable  application  that  enabled 
Bach  to  widen  at  every  point  the  domain  of 
musical  expression.  His  successors  have  failed 
to  maintain  the  art  at  the  level  to  which  he  raised 
it.  If  Bach  was  more  successful,  if  he  was  able 
to  produce  great  work  of  convincing  beauty  and 
imperishable  as  a  model  for  those  who  came  after 
him,  we  owe  it  as  much  to  his  application  as  to 
his  genius. 

This  man,  the  greatest  orator-poet  that  ever 
addressed  the  world  in  the  language  of  music, 
was  a  German  !  Let  Germany  be  proud  of  him  ! 
Yes,  proud  of  him,  but  worthy  of  him  too  ! 


APPENDIX  I 

CHRONOLOGICAL  CATALOGUE  OF  BACH'S 
COMPOSITIONS  * 

I.  CATALOGUE  OF  BACH'S  COMPOSITIONS  PRIOR  TO  HIS 

APPOINTMENT    TO   WEIMAR    IN    JUNE    1708,    in    his 

twenty-fourth  year. 

VOCAL  : — 

Motet :  Lobet  den  Herrn,  alle  Heiden. 
CLAVIER  2 : — 

Capriccio  sopra  la  lontananza  del  suo  fratello  dilettissimo 

(bk.  208  p.  62)  (1704). 
Capriccio    in   honorem    Joh.    Christoph    Bachii,    Ohrdruf 

(bk.  215  p.  34)  (c.  1704). 
Sonata  in  D  major  (bk.  215  p.  44)  (c.  1704).8 
B.G.  xxxvi.  prints  a  number  of  pieces  which,  in  general, 
may  be  assigned  to  Bach's  immature  years.     They  are  repro- 
duced in  Peters'  edition : 

Book  200  :  Fughetta  in  C  minor  (p.  10). 

Prelude  and  Fughetta  in  D  minor  (p.  40). 
Do.  do.  E  minor  (p.  42). 

Do.  do.  A  minor  (p.  47). 

1  The  Cantatas  are  classified  under  Appendix  II. 

1  The  references  are  to  Peters'  edition.  Excepting  bk.  1959,  which 
contains  pieces  of  doubtful  authenticity,  every  number  printed  by 
Peters  is  entered  in  the  Chronological  Catalogue. 

*  There  are  three  other  Sonatas,  in  A  minor,  C  major,  D  minor, 
none  of  which  is  an  original  composition.  They  are  printed  in  P. 
bk.  213.  The  first  and  second  are  adaptations  of  material  in  Reinken's 
'  Hortus  Musicus.'  The  third  is  a  transcription  of  the  second  Solo 
Sonata  for  Violin. 


154          JOHANN  SEBASTIAN  BACH 

Fugue  in  C  major  (p.  54). 
Do.  do.      (p.  56). 

Book  207  :  Fantasia  in  C  minor  (p.  50). 
Book  212 :        Do.  do.          (p.  58). 

Fugue  in  D  minor  (p.  59). 
Do.  do.       (p.  61). 

Do.         E  minor  (p.  68). 

Book  214 :  Prelude  and  Fughetta  in  F  major  (p.  76). 
Do.  do.  G  major  (p.  78). 

Prelude  in  G  major  (p.  80). 
Book  215 :  Three  Minuets  (p.  62). 
To  these  may  be  added  (?  authentic)  from  B.G.  XLII.  : 

Book  212  :  Fantasia  and  Fughetta  in  B  flat  major  (p  58). 
Do.  do.  D  major  (p.  60). 

ORGAN  1 : — 

Prelude  and  Fugue  in  C  minor  (bk.  2  p.  48)  (c.  1704). 

Do.  do.        C  major  (bk.  8  p.  88)  (?  1707) .2 

Do.  do.       the  '  Short,'  A  minor  (bk.  10  p.  208) . 

Fugue  in  C  minor  (bk.  12  p.  95)  (c.  1704). 

Do.       C  minor,  on  a  theme  by  Legrenzi  (bk.  10  p.  230) 
(c.  1708). 

Do.       B  minor,  on  a  theme  by  Corelli  (bk.  3  p.  60). 

Do.       D  major  (bk.  12  p.  83). 

Do.      G  major  (bk.  12  p.  55). 

Do.       G  major  (bk.  12  p.  86). 

Do.       G  minor  (bk.  2  p.  41). 
Prelude  in  A  minor  (bk.  10  p.  238)  (by  1706). 

Do.         C  major  (bk.  12  p.  94). 

1  The  references  are  to  Novello's  twelve  Books  of  Bach's  Organ 
Works,  edited  by  J.  F.  Bridge  and  J.  Higgs.  The  edition  is  complete, 
and  contains  every  movement  included  in  Alfred  Dorffel's  « Thema- 
tisches  Verzeichniss  '  (second  edition,  1882)  except  his  No.  24  on  p. 
72  ;  Nos.  6  and  8  on  page  85  ;  the  '  Kleines  harmonisches  Labyrinth  ' 
(Dorffel,  p.  88,  figs.  131-33),  the  genuineness  of  which  is  questioned 
by  Spitta  (ii.  43);  and  figs.  136-37  on  p.  88.  The  Novello  edition  also 
follows  Rust,  against  Spitta's  judgment,  in  printing  the  '  Fantasia  con 
Imitazione  '  (bk.  12  p.  71)  as  an  Organ  instead  of  as  a  Clavier  piece. 
Books  15-19  print  the  Choral  Preludes.  See  the  Peters  and  Novello 
editions  collated  in  Appendix  V. 

*  Printed  as  a  '  Toccata  '  in  E  major  in  B.G.  xv.  p.  276. 


CHRONOLOGICAL  CATALOGUE   155 

Fantasia  and  Fugue  in  A  minor  (bk.  12  p.  60). 
Fantasias  in  G  major  (bk.  9  p.  168 ;  bk.  12  p.  76). 
Pastorale  in  F  major  (bk.  12  p.  102). 
Choral  Partita :  Christ,  der  du  bist  der  helle  Tag  (bk.  19 

p.  36). 

Do.  O  Gott,  du  frommer  Gott  (bk.  19  p.  44). 

Do.  Sei  gegriisset,  Jesu  giitig  (bk.  19  p.  55). 

Generally  speaking,  the  Choral  Preludes,  other  than  those 
in  the  maturer  collections  made  by  Bach  himself,  may  be 
regarded  as  youthful  works  (bks.  18,  19). 

II.  CATALOGUE  OF  BACH'S  COMPOSITIONS  AT  WEIMAR. 
1708-17,  from  his  twenty-fourth  to  his  thirty-third 
year. 

VOCAL  : — 

Secular  Cantata :  Was  mir  behagt  (1716),  or,  Verlockender 
Gotterstreit. 

CLAVIEB  : — 

Sixteen  Concertos  after  Vivaldi  (bk.  217)  (c.  1708-12). 
Toccatas  in  D  major  (bk.  211  p.  28),  G  major  (bk.  215 
p.  19),  D  minor  (bk.  210  p.  68),  G  minor  (bk.  211  p.  4), 
E  minor  (bk.  210  p.  23)  (c.  1708-12). 
Aria  variata  alia  maniera  Italiana  (bk.  215  p.  12)  (c.  1708- 

12). 

Prelude  and  Fugue  in  A  minor  (bk.  211  p.  14)  (c.  1715). 
Fugues  in  A  major  (bk.  215  pp.  52,  57). 
Do.        B  minor  (bk.  214  p.  48). 
Do.        A  major  (bk.  212  p.  66). 
Do.        A  minor  (bk.  212  p.  70). 
Fantasia  in  G  minor  (bk.  215  p.  32). 

Do.         B  minor  (bk.  215  p.  41).     (For  Organ,  N.  bk.  12 

>•  71.) 

Do.         D  major  (bk.  211  p.  28). 
Do.        A  minor  (bk.  215  p.  5)  (c.  1710). 

ORGAN  : — 

Passacaglia  and  Fugue  in  C  minor  (bk.  10  p.  214). 
Four  Concertos  after  Vivaldi  (bk.  11). 


156          JOHANN  SEBASTIAN  BACH 

Eight  Short  Preludes  and  Fugues  (bk.  1). 
Orgelbuchlein  (bk.  15)  (1717). 
Aria  in  F  major  (bk.  12  p.  112). 
Fantasia  con  Imitazione  (bk.  12  p.  71). 
Do.         C  major  (bk.  12  p.  92). 
Do.        C  minor  (bk.  3  p.  57). 
Trio  in  C  minor  (bk.  12  p.  108). 

Do.   D  minor  (bk.  2  p.  54). 
Canzona  in  D  minor  (bk.  2  p,  34)  (c.  1714). 
Allabreve  in  D  major  (bk.  2  p.  26). 
Prelude  and  Fugue  in  C  major  (bk.  7  p.  74). 

Do.  do.         the  '  Short,'  E  minor  (bk.  2  p.  44). 

Do.  do.         D  major  (bk.  6  p.  10). 

Do.  do.         the  '  Great,'  A  minor  (bk.  7  p.  42). 

Do.  do.         A  major  (bk.  3  p.  64). 

Do.  do.         the  '  Great,'  C  minor  (bk.  7  p.  64). 

Do.  do.         F  minor  (bk.  6  p.  21). 

Do.  do.         G  major  (bk.  7  p.  80). 

Do.  do.         G  minor  (bk.  8  p.  120)  (c.  1712). 

Toccata  and  Fugue  in  D  minor  (bk.  6  p.  2). 
.  ,     Do.  do.        the  '  Great,'  C  major  (bk.  9  p.  137). 

Do.  do.       the  '  Great,'  F  major  (bk.  9  p.  176). 

Do.  do.        the  Dorian,  D  minor  (bk.  10  p.  196). 

Fantasia  and  Fugue  in  C  minor  (bk.  3  p.  76). 
Prelude  in  G  major  (bk.  2  p.  30). 

Do.        C  major  (bk.  12  p.  91). 
Fugue,  the  '  Short,'  in  G  minor  (bk.  3  p.  84). 

Do.        C  major  (bk.  12  p.  100). 

III.  CATALOGUE  OF  BACH'S  COMPOSITIONS  AT  COTHEN, 
1717-23,  from   his  thirty-third  to  his  thirty-ninth 
year. 
VOCAL  : — 

Secular  Cantata :  Durchlaucht'ster  Leopold  (1717). 

Do.  Mit  Gnaden  bekrone  der  Himmel  die  Zeiten 

(?  1721). 
Do.  Weichetnur,  betrubteSchatten  (71717-23).1 

1  Spitta  (ii.    620,   718)  mentions   a  Birthday  Cantata  written  in 
1717-1721  (T),  the  title  of  which  is  lost. 


CHRONOLOGICAL  CATALOGUE       157 

CLAVIER: — 

Clavier-Biichlein  vor  WiLhelm  Friedemann  Bach  (1720). 
Chromatic  Fantasia  and  Fugue  (bk.  207  p.  4)  (c.  1720-23). 
Clavier-Biichlein  vor  A.  M.  Bachin  (bk.  1959)  (1722). 
The  Well-tempered  Clavier  (Part  i.)  (bk.  2790a)  (1722). 
Six  French  Suites  (bks.  202  and  2793)  (c.  1722). 
Six  English  Suites  (bks.  203-4  and  2794-95)  (before  1726). 
Fantasia  and  Fugue  in  A  minor  (bk.  208  p.  50). 
Fugue  in  A  minor  (bk.  207  p.  16)  (B.G.  ra.  p.  334). 
Twelve  Little  Preludes  and   Six  Preludes  for  Beginners 

(bks.  200  and  2791)  (c.  1722). 

Inventions  and  Symphonies  (bks.  201  and  2792)  (1723). 
Toccatas  in  F  sharp  minor  and  C  minor  (bk.  210  pp.  30 

and  40). 
Suites  in  A  minor,  E  flat  major,  E  minor,  F  major,  and 

F  minor  (fragment)  (bk.  214  pp.  54,  62,  68 ;  bk.  215  p.  27 ; 

bk.  212  p.  84). 
Prelude  and  Fugue  in  E  flat  major  (bk.  214  p.  40). 

CHAMBER  :  * — 

Six  Sonatas  (Suites)  for  Violin  Solo  (bk.  228)  (c.  1720).2 
Six  Sonatas  (Suites)  for  Violoncello  Solo  (bk.  238a)  (c.  1720). 
Six  Sonatas  for  Violin  and  Clavier  (bks.  232-33-232a-33a). 
Suite  in  A  major  for  Violin  and  Clavier  (bk.  236). 
Four  Inventions  for  Violin  and  Clavier  (bk.  2957). 
Sonata  in  E  minor  and  Fugue  in  G  minor  for  Violin  and 

Clavier  (bk.  236)  (?  early  work). 
Six  Sonatas  for  Flute  and  Clavier  (bks.  234-35). 
Sonata  in  C  major  for  two  Violins  and  Clavier  (bk.  237). 
Three  Sonatas  for  Viol  da  Gamba  and  Clavier  (bk.  239). 
Sonata  in  G  major  for  two  Flutes  and  Clavier  (bk.  239  p.  2). 
Sonata  in  G  major  for  Violin,  Flute,  and  Clavier  (bk.  237). 

ORCHESTRAL  : 3 — 
Six  Brandenburg  Concertos  (bks.  261-66)  (1721). 

1  The  references  are  to  Peters'  edition. 
1  The  D  minor  contains  the  famous  Chaconne. 

•  The  references  are  to  Peters'  edition.     In  the  B.G.  edition  the 
Orchestral  musio  is  included  in  the  Chamber  Music  volumes. 


158          JOHANN  SEBASTIAN  BACH 

Four  Suites  (Overtures)  (bks.  267-69,  2068)  .* 

Three  Concertos  for  Violin  and  Orchestra  (bks.  229,  230). 2 

Concerto  in  D  minor  for  two  Violins  and  Orchestra  (bk.  23 1).3 

ORGAN  : — 

Prelude  (Fantasia)  and  Fugue,  the  'Great,'  in  G  minor 
(bk.  8  p.  127)  (?  1720). 

IV.  CATALOGUE  OF  BACH'S  COMPOSITIONS  AT  LEIPZIG, 
1723-34,  from  his  thirty-ninth  to  his  fiftieth  year. 

VOCAL : — 

Magnificat  in  D  (?  1723). 4 
Sanctus  hi  C  major,  D  major  (c.  1723),  D  minor,  and 

G  major  (P.  bk.  29b).5 
St.  John  Passion  (1723). 
Trauer-Ode  (1727). 
St.  Matthew  Passion  (1729). 
Mass  in  B  minor  (1733-?1738). 
Christmas  Oratorio  (1734). 
Three  Wedding  Chorals  (P.  bk.  1654). 
Motet :  Jesu,  meine  Freude  (1723). 

Do.      Der  Geist  hilft  unsrer  Schwachheit  auf  (1729). 

Do.      Fiirchte  dich  nicht. 

Do.      Singet  dem  Herrn  ein  neues  Lied. 

1  Pirro,  p.  228,  holds  that  the  first  two  (C  major  and  B  minor)  were 
written  at  Cothen  and  the  last  two  (D  major  and  D  major)  at  Leipzig. 
Schweitzer  (i.  402)  regards  it  as  not  clear  in  which  period  the  Overtures 
were  written* 

1  In  A  minor,  E  major,  G  major.  The  G  major  figures  as  the  fourth 
Brandenburg  (bk.  264)  and  as  the  Clavier  Concerto  in  F  major  (bk. 
248).  The  A  minor  and  E  major  were  also  converted  into  Clavier 
Concert!  (G  minor  and  D  major)  (bks.  249,  251).  The  D  minor  Clavier 
Concerto  (bk.  254)  preserves  a  lost  Violin  Concerto  in  the  same  key, 
and  the  one  in  F  minor  (bk.  250)  corresponds  with  a  lost  Violin  Con- 
certo in  G  minor  (bks.  3068,  3069). 

8  Also  arranged  as  a  Concerto  for  two  Claviers  (C  minor)  in  P. 
bk.  257b. 

4  Bach  wrote  another  Magnificat,  the  music  of  which  is  lost.  See 
Spitta,  ii.  374. 

6  All  except  the  Sanctus  in  D  major  are  of  doubtful  authenticity. 
See  Schweitzer,  ii.  328  and  Spitta,  iii.  41  n. 


THK   BACH   STATUE  AT  LEIPZIG. 


CHRONOLOGICAL  CATALOGUE   159 


Motet  :  Knimn,  Jesu, 

Secular  Cantata  :  Der  mf  i  M«l«*>i«^|iiJlt^  Arolnp  (1785)  ; 

(1734). 
Do  Vaanigte  Zwietracht  der 

Sahen  (1726),  or,  Auf 

Tone  der  muntern  Trompeten  (after 

1733). 
Do.  Schwingt  freodig  each  empor  ;   aim  e*- 

rtMerf  Die  Fieode  reget  skh,  or  Stogt 

freodig  in  die  Loft  (1726). 
Do  Brtfernet  each,  mrkitemSterae  (1727; 

music  lot*). 
Do.  Vergnngte  Pleeaenstadt  (1728;    more 

kwt). 
Do.  Von  der  Yergnugsamkeit  .  or  Icfa  bin  in 

mir  TCfgnogt  (c.  1730). 
Do.  Weichet    nor,     betrabte    Schatten     (e. 

1730). 
Do.  Der  Stzeit  rwiscben  Phoebus  and  Pan 

(1731). 
Do.  Proher  Tag,  Tcdangte  Stonden  (1732; 

music  lost). 

Do.  Schweigt  stille  (Coffee  Cantata)  (e.  1732). 

Do.  Herkules  aof  dem  Scheidew^e.  or  Die 

Wahl  des  Herkules  (1733). 
Do.  Tonet  .  ihr  Paoken  !     Erecbaflet,  Tram- 

peten  (1733). 
Do.  Prase  dein  docke,  gesegnetee  fhiiiiMi 

(1734). 

Do.  Schlekht.  spielende  Weflen  (1734). 

Do.  Thomana   saaB  annoch    betrobt  (1734; 

music  lost). 
Graduation  Cantata  :  Sfehe,  der  Hater  Israels  (music  loat). 


Nbtenboch    TOT    Anna    Magialftia     Bach     (bk.     19o9> 


davierubang..  Part   I.  •««tMning   the    six   Partitas,  or 
German  Suites  (bks.  205^  or  2796-97)  (1731). 


160         JOHANN  SEBASTIAN  BACH 

ORCHESTRAL  : — 

Concertos  in   C   major,  C  minor,   and  C  minor  for  two 

Claviers  and  Orchestra  (bks.  256,  257,  257b)  (1727-36). * 
Seven  Concertos  for  Clavier  and  Orchestra  (bks.  248-54) 

(1729-36). 
Concerto    in    A    minor   for    Violin,    Flute,    Clavier,    and 

Orchestra  (bk.  255)  (c.  1730). 2 
Concerto   in   A   minor  for   four   Claviers   and   Orchestra 

(bk.  260)  (c.  1733). 
Concertos  in  D  minor  and  C  major  for  three  Claviers  and 

Orchestra  (bks.  258,  259)  (c.  1733). 

ORGAN  : — 

Prelude  and  Fugue,  the  Great,  in  G  major  (bk.  8  p.  112) 

(1724  or  1725).3 
Six  Sonatas  in  E  flat  major,  C  minor,  D  minor,  E  minor, 

C  major,  G  major  (bks.  4  and  5)  (1727-33).* 
Prelude  and  Fugue  in  C  major  (bk.  3  p.  70)  (c.  1730)  .3 

Do.  do.  D  minor  (bk.  9  p.  150). 


V.  CATALOGUE   OF  BACH'S   COMPOSITIONS  AT  LEIPZIG, 
1735-50,  from  his  fifty -first  year  to  his  death. 

VOCAL : — 

Ascension  Oratorio  (Cantata  11)  (c.  1735). 
Schemelli's  Hymn-book  (1736). 
Easter  Oratorio  (c.  1736). 

1  The  Concerto  in  C  minor  (P.  bk.  257)  is  an  arrangement  of  one  for 
two  Violins  now  lost.  The  third,  also  in  C  minor,  is  identical  with  the 
D  minor  Concerto  for  two  Violins  and  is  published  in  that  key  in  the 
Peters  edition.  The  remaining  Concerto,  in  C  major,  is  the  only  one 
originally  written  for  the  Clavier.  See  Schweitzer,  i.  413. 

*  The  work  is  an  amplification  of  the  Prelude  and  Fugue  in  A  minor, 
already  catalogued  among  the  Clavier  works  of  the  Cothen  period. 
Schweitzer  (i.  340)  concludes  that  it  was  rearranged  as  an  orchestral 
Concerto  early  in  the  thirties,  when  Bach  needed  Concertos  for  the 
Telemann  Society's  Concerts. 

3  The  scheme  of  the  G  major  and  C  major  Preludes  and  Fugues 
dates  back  to  the  Weimar  period.  See  Spitta,  iii.  208 ;  Parry,  p.  67. 

*  These  so -called  '  Organ '  Sonatas  were  written  for  the  Pedal  Clavi- 
cembalo. 


CHRONOLOGICAL  CATALOGUE       163 

Four  Masses,  in  F  major,  A  major  (c.  1739),  G  minor, 

G  major  (c.  1739). 
Secular  Cantata  :  Angenehmes  Wiederau  (1737). 

Do .  Willkommen,  ihr  herrschenden  Gotter  der 

Erden  (1738)  (music  lost). 
Do.  Mer  hahn  en  neue   Oberkeet   (Peasant 

Cantata)  (1742). 
Do.  O  holder  Tag  (?  1749),  or,  O  angen»h%e  \ 

Melodei.  /4' 

Itah'an  Cantata  :  Amore  traditore. 

Do.  Andro  dalF  colle  al  prato  (lost).?  S-f 


Do.  Non  sa  che  sia  dolore. 

CLAVIER:- 

Clavieriibung,   Part   II.   containing  the  Italian 

(bk.  207)  and  Partita  in  B  minor  (bk.  208)  (1735). 
Fantasia  and  Fugue  in  C  minor  (bk.  207  p.  50  and  bk.  2l£ 

p.  88)  (c.  1738). 
Clavieriibung,  Part  III.  containing  the  four  Duetti  (bk.  208) 

(1739). 
Clavieriibung,  Part  IV.  containing  the  Goldberg  Variations 

(bk.  209)  (c.  1742). 
The  Well-tempered  Clavier,  Part  II.  (bk.  Ib  or  2790b)  (1744). 

CHAMBER  : — 

Sonata  for  Violin,  Flute,  and  Clavier,  in  C  minor  (in  the 

'  Musical  Offering')  (bk.  237  p.  3)  (1747). 
Three  Partitas  for  the  Lute  (?  1740). 1 

ORGAN  : — 
The  Catechism  Choral  Preludes  (in  Clavieriibung,  Part  III.) 

(bk.  16)  (1739). 

Fugue  in  D  minor  (in  ditto)  (bk.  16  p.  49)  (1739). 
Prelude  and  Fugue  in  E  flat  major  (in  ditto)  (bk.  6  p.  28) 

(1739). 

Do.  do.      the  '  Great,'  in  C  major  (bk.  9  p.  156). 

Do.  do.      the  '  Great,'  in  B  minor  (bk.  7  p.  52) 

(1727-36). 
Do.  do.      the  '  Great,'  in  E  minor  (bk.  8  p.  98) . 

1  The  Clavier  Suites  in  E  minor,  E  major,  and  C  minor  are  arrange- 
ments of  these,  otherwise  lost,  Lute  Partitas.     See  Schweitzer,  i.  344. 


162          JOHANN  SEBASTIAN  BACH 

Canonic  Variations  on  '  Vom  Himmel  hoch '  (bk.  19)  (1746). 
The  Schiibler  Choral  Preludes  (bk.  16)  (c.  1747-50). 
The  Eighteen  Choral  Preludes  (bk.  17)  (c.  1747-50). 


The  Musical  Offering  (P.  bk.  219)  (1747). 
The  Art  of  Fugue  (P.  bk.  218)  (1749). 


APPENDIX    II 

THE  CHURCH  CANTATAS  ARRANGED 
CHRONOLOGICALLY 

WE  have  the  statement  of  Carl  Philipp  Emmanuel  Bach,1 
confirmed  by  Forkel,2  Bach's  earliest  biographer,  that  his 
father  composed  five  Cantatas  for  every  Sunday  and 
Festival  of  the  ecclesiastical  year.  Concerted  music  was 
sung  at  Leipzig  annually  on  forty-three  Sundays  and 
sixteen  week-days.3  Bach  therefore  must  have  written 
at  least  295  Cantatas.  Of  this  number  he  composed  at 
least  thirty  before  1723.  Hence  approximately  265  were 
written  at  Leipzig.  But  Bach's  fertility  does  not  appear 
to  have  outlived  the  year  1744.  We  have  reason,  there- 
fore, to  conclude  that  the  265  Leipzig  Cantatas  were 
written  in  the  course  of  twenty -one  years,  that  is,  between 
1723  and  1744.  To  complete  that  number  Bach  must 
have  composed  a  new  Cantata  every  month,  a  surprising 
but  demonstrable  conclusion. 

Of  the  295  Cantatas  only  202  have  come  down  to  us, 
three  of  them  in  an  incomplete  state.4  Of  those  written 
before  1723  the  survivors  are  too  scanty  to  indicate  a  rate 
of  productivity.  But  thereafter  we  have  fuller  materials 
for  a  calculation.  Bach,  as  Cantor,  conducted  his  first 
Leipzig  Cantata  on  May  30,  1723,  and  in  the  following 
sixteen  months  produced  twenty-four  Cantatas,  at  the 

1  In  Mizler'e  '  Nekrolog.' 
•  Supra,  p.  138. 

»  See  the  present  writer's  '  Bach's  Chorals,'  Part  II.  p.  1. 
4  Ibid.,  p.  4.     Four  more  Cantatas,  of  doubtful  authenticity,  are 
published  by  the  Bachgesellschaft,  Jahrgang  XLI. 


164          JOHANN  SEBASTIAN  BACH 

rate  of  more  than  one  a  month.1  Beginning  at  the  New 
Year  of  1725  he  wrote  eighteen  Cantatas  in  nine  months, 
some  of  which,  however,  may  belong  to  the  years 
1726-7-8-9.  But  even  so,  his  monthly  average  seems  to 
have  been  maintained.  For  1730  we  have,  perhaps,  ten 
Cantatas.  For  1731  about  twenty  survive,  of  which 
half  a  dozen  may  belong  to  1732,  a  deduction  which  still 
preserves  Bach's  steady  average.  In  1735  he  produced 
actually  nineteen  Cantatas  between  the  New  Year  and 
the  following  November,  though  not  all  of  them  are 
positively  dated.  Thereafter  his  activity  is  less  certainly 
measured.  But  from  1736  till  the  end  of  1744  he  com- 
posed fifty-three  Cantatas,  at  the  rate,  that  is,  of  at  least 
six  every  year,  without  making  allowance  for  Cantatas 
written  and  lost. 

There  are  few  phenomena  in  the  record  of  art  more 
extraordinary  than  this  unflagging  cataract  of  inspiration, 
in  which  masterpiece  followed  masterpiece  with  the 
monotonous  periodicity  of  a  Sunday  sermon.  Its  musical 
significance  has  been  presented  with  illuminating  exegesis 
by  more  than  one  commentator.  But  its  literary  apparatus 
has  captured  little  attention.  Yet  Bach's  task  must  have 
been  materially  eased  or  aggravated  according  as  the 
supply  of  libretti  was  regular  or  infrequent,  while  the 
flow  of  his  inspiration  must  have  been  governed  by  their 
quality.  Moreover,  the  libretto  was  the  medium  through 
which  he  offered  the  homage  of  his  art  to  the  service  of 
God.  The  subject  therefore  deserves  attention.  How- 
ever trivial,  measured  against  the  immensities  of  Bach's 
genius,  the  study  will  at  least  provide  a  platform  from 
which  to  contemplate  it. 

At  the  outset  the  opinion  may  be  hazarded  that  the 
provision  of  his  weekly  libretti  caused  Bach  greater 
anxiety  than  the  setting  of  them  to  music,  a  task  which 
he  accomplished  with  almost  magical  facility.  It  is 

1  See  the  Table  of  Cantatas  set  out  in  chronological  order. 


THE  CHURCH  CANTATAS  165 

true  that  from  the  early  part  of  the  18th  century  cycles 
of  Cantata  texts  for  the  Church's  year  were  not  infre- 
quently published.  Bach  was  in  more  or  less  intimate 
touch  with  the  authors  of  four,  perhaps  five,  printed 
collections  of  the  kind.  But  he  used  them  with  surprising 
infrequency.  Neumeister's  published  cycles  provided 
him  with  seven  libretti,1  Franck's  with  sixteen,2  Picander's 
with  ten,3  Marianne  von  Ziegler's  with  nine,4  and  Helbig's 
with  two.5  He  took  three  libretti  from  the  Bible,6  and 
the  hymn-book  furnished  him  with  eleven  more.7  But 
all  these  published  sources  together  only  account  for 
fifty-eight  texts.  Bach  possessed  only  one  book  that 
could  assist  his  own  efforts  at  authorship — Paul  Wagner's 
eight -volumed  Hymn-book — whence  he  took  the  stanzas 
which  decorate  his  Cantatas  like  jewels  in  the  rare  settings 
he  gave  them.  It  was,  therefore,  mainly  upon  writers 
with  whom  he  was  brought  into  occasional  or  official 
contact  that  Bach  depended  for  his  texts. 

At  the  beginning  of  his  career  Bach  was  thrown  upon 
his  inexperience.  His  earliest  libretti,  consequently,  are 
tentative  and  transitory  hi  their  construction.  His 
first  Cantata  was  written  at  Arnstadt  for  the  Easter 
Festival  of  1704.8  The  core  of  the  libretto  is  a  seven- 
stanzaed  Easter  song  by  an  unknown  poet,  eked  out  by 
two  passages  of  Scripture,  a  Recitative,  Aria,  and  a  verse 
of  a  congregational  hymn.  The  Aria  and  Recitativo  are 
the  only  original  numbers  of  the  libretto,  and  there  is  little 

1  Nos.  18,  24,  28,  59,  61,  142,  160. 

1  Nos.  31,  70,  72,  80,  132,  147,  152,  155,  161,  162,  163,  164,  165,  168, 
185,  186  (part). 

8  Nos.  145,  148  (part),  156,  157,  159,  171,  174,  188,  190  (one  version), 
'  Ehre  sei  Gott  '  (incomplete). 

«  Nos.  68,  74,  87,  103,  108,  128,  175,  176,  183. 

8  Nos.  47,  141. 

«  Nos.  50,  191,  196. 

7  Nos.  4,  97,  100,  107,  112,  117,  118,  129,  137,  177,  192. 

8  No.    15 :     '  Denn    du  wirst    meine    Seele    nicht    in    der    Holle 
lassen.' 


166          JOHANN  SEBASTIAN  BACH 

doubt  that  Bach  wrote  them  himself.1  But  the  whole 
libretto  is  stamped  by  his  personality,  and  reveals  the 
inveterate  subjectivity  of  his  religion.  For,  disregarding 
the  general  message  of  the  Festival,  the  libretto  opens  on 
the  soul's  personal  longing  for  immortality  and  closes  on 
its  song  of  victory  over  death.  In  construction  it  is 
archaic,  a  survival  of  traditions  acquired  from  central 
and  northern  Germany  through  Bach's  earlier  residence 
at  Liineburg  and  intercourse  with  Hamburg.2 

Three  years  passed  before  Bach  produced  his  next 
extant  Cantata.  In  the  interval,  on  29th  June  1707,  he 
resigned  his  Arnstadt  appointment  to  become  organist 
of  the  Church  of  St.  Blasius  at  Miihlhausen.3  Here, 
within  the  space  of  ten  months,  he  produced  three 
Cantatas,  the  uniform  character  of  whose  libretti  points 
to  local  and  transitory  influence  upon  the  composer.  The 
first  of  them,4  written  in  August  1707,  is  a  setting  of 
Psalm  130,  with  the  addition  of  two  hymn-stanzas.  The 
second  5  was  performed  on  4th  February  1708,  at  the 
inauguration  of  the  Miihlhausen  Town  Council,  and  con- 
sists of  Old  Testament  passages,  a  verse  of  a  hymn,  and 
three  original  stanzas.  The  third,6  a  wedding  Cantata, 
was  performed  at  Dornheim,  near  Arnstadt,  on  5th  June 
1708,  at  the  marriage  of  Pastor  Johann  Lorenz  Stauber 
to  Frau  Bach's  aunt,  and  is  set  to  four  verses  of 
Psalm  115. 

We  can  have  little  doubt  regarding  the  authorship  of 
these  singularly  austere  libretti,  so  far  removed  in 
atmosphere  from  those  of  Bach's  subsequent  periods. 
In  fact,  the  clue  is  furnished  by  Bach  himself.  A  note 
in  his  handwriting  on  the  score  of  the  first  of  the  three 

1  The  intimate  personal  note  of  the  opening  words  of  the  Recitative — 
'  Mein  Jesus  ware  tot ' — reveals  him. 

•  Spitta,  i.  231.  «  Schweitzer,  i.  103. 
«  No.  131 :    '  Aus  der  Tiefe  rufe  ich,  Herr,  zu  dir.' 

•  No.  71  :   '  Gott  ist  mein  Konig.' 

•  No.  196  :   '  Dorr  Herr  denket  an  uns.' 


THE  CHURCH  CANTATAS  167 

Cantatas  (No.  131)  states  that  he  composed  it  at  the 
request  of  Georg  Christian  Eilmar.  The  man  was  a 
close  friend,  godfather  of  Bach's  eldest  daughter, 
Katharina  Dorothea  (b.  1708),  chief  pastor  of  the  Church 
of  the  Blessed  Virgin,  and  Consistorial  Assessor,  at 
Miihlhausen.  He  was,  moreover,  an  aggressive  foe  of 
Pietism,  of  which  Miihlhausen  was  the  citadel,  and  Bach's 
minister,  Frohne,  the  protagonist.  Indeed,  the  two 
men  waged  so  public  and  wordy  a  warfare  *  that  Bach's 
social  relations  with  the  one  and  official  connection  with 
the  other  must  have  been  rendered  difficult.  To  his 
settled  convictions  regarding  the  fellowship  of  music  and 
worship  Pietism  offered  Puritan  opposition.  In  fact,  its 
lack  of  sympathy  eventually  drove  him  from  Miihlhausen, 
in  hope,  in  his  own  words,  '  to  realise  my  views  upon  the 
right  ordering  of  Church  music  without  vexation  from 
others.'  2  Eilmar,  on  the  other  hand,  though  he  admitted 
the  aesthetic  value  of  music,  conspicuously  lacked  the 
warmth  and  emotionalism  of  Bach's  religious  tempera- 
ment. To  him  undoubtedly  we  must  attribute  the  cold 
austerity  of  the  three  Miihlhausen  libretti  and  the  sup- 
pression of  the  personal  note  already  sounded  in  Bach's 
Arnstadt  Cantata.  Nor  did  Eilmar's  influence  pass  with 
Bach's  departure  from  Miihlhausen.3  It  is  to  be  traced 
in  the  early  libretti  of  the  Weimar  period. 

The  Weimar  Cantatas  are  twenty-two  in  number,  of 
which  all  but  three  were  written  subsequently  to  Bach's 
appointment  as  Concertmeister  early  in  1714.  He  had 
been  organist  to  the  Ducal  Court  of  Weimar  since  June 
1708,  a  position  which  did  not  require  him  to  compose  for 
the  Ducal  Chapel.  On  the  other  hand,  three  Cantatas 
are  attributed  to  the  early  Weimar  years.  But  they 

1  See  Spitta,  i.  359  ff. 

1  Ibid.,  i.  374.     On  the  other  hand,  Bach's  art  was  visibly  affected  by 
Pietistic  influences,  as  Schweitzer,  i.  169,  shows. 
»  Eilmar  died  in  1716  (Spitta,  i.  361). 


168          JOHANN  SEBASTIAN  BACH 

cannot  be  positively  dated,  and  their  libretti  bear  such 
clear  traces  of  Eilmar's  influence  that  their  composition 
may  belong  rather  to  the  Miihlhausen  period.  Their 
texts  display  Eilmar's  preference  for  strictly  Biblical 
material  and  a  disinclination  to  employ  secular  forms. 
The  first  of  them  1  is  a  paraphrase  of  the  Magnificat.  The 
second  2  consists  of  four  verses  of  Psalm  25,  along  with 
three  simple  rhymed  stanzas  which  we  have  no  difficulty 
in  attributing  to  Bach  himself.  The  third,  '  Gottes  Zeit 
ist  die  allerbeste  Zeit '  (No.  106),  was  composed,  Spitta 
conjectures,3  for  the  funeral  of  Philipp  Grossgebauer, 
B/ector  of  Weimar  School,  in  1711.  But  more  recently, 
and  more  probably,  Pirro  4  has  expressed  the  opinion 
that  Bach  wrote  it  for  the  funeral  of  his  uncle,  Tobias 
Lammerhirt,  who  was  buried  at  Erfurt  in  September 
1707.  The  theory  accords  with  the  suggestion  that  all 
three  Cantatas  belong  to  the  Miihlhausen  period.  If  so, 
it  is  probable  that  the  libretto,  a  very  ingenious  mosaic  of 
Scripture  texts,  was  written  by  Eilmar  for  the  occasion. 
It  is  the  last  in  which  we  detect  his  influence. 

Bach's  appointment  as  Ducal  Concertmeister  at  Weimar 
can  be  placed  between  14th  January  and  19th  March 
1714  5  and,  it  is  probable,  was  nearer  the  former  date. 
He  seems  to  have  produced  the  first  Cantata  his  new 
post  required  him  to  write  on  Sexagesima  Sunday,  which 
fell  on  4th  February  in  that  year.  From  thence  to  the  end 
of  1716  he  produced  nineteen  Cantatas  and  collaborated 
with  a  writer  whose  libretti  at  length  gave  him  a  satis- 
factory literary  medium. 

The  new  poet,  Erdmann  Neumeister,  four  of  whose 
libretti  Bach  set  to  music  immediately  after  his  appoint- 

1  No.  189  :   '  Meine  Seele  riihmt  und  preiat.' 

*  No.  150  :   '  Nach  dir,  Herr,  verlanget  mich.' 
8  Vol.  i.  456. 

•  '  J.-S.  Bach,'  p.  87. 

8  The  conclusion  is  based  on  letters  printed  by  Spitta,  i.  517. 


THE  CHURCH  CANTATAS  169 

ment,  and  a  fifth  a  year  later,1  was  considerably  Bach's 
senior.2  As  far  back  as  1700  he  had  begun  to  write  a 
cycle  of  Cantata  texts  for  the  Ducal  Chapel  at  Weissenfels, 
and  published  it  in  1704,  with  an  explanatory  Preface 
referred  to  later.3  In  1708  he  issued  a  second  cycle  for 
the  Court  of  Rudolstadt,  while  in  1711  and  1714  third 
and  fourth  cycles  were  written  for  the  Ducal  Chapel 
at  Eisenach.  All  four  cycles  were  reissued  in  171 6,4  with 
the  addition  of  a  fifth  and  a  Preface,  which  lauded 
Neumeister  as  '  the  first  German  to  give  sacred  music  its 
fitting  position  by  introducing  and  perfecting  the  Church 
Cantata.'  5 

Spitta  has  dealt  exhaustively  6  with  the  evolution  and 
construction  of  the  Neumeister  libretto.  It  need  only 
be  remarked  that  it  adapted  a  secular  or  operatic 
apparatus  to  the  service  of  religion,  and  that  the  innova- 
tion, hateful  to  many,  triumphed  because  of  Neumeister's 
delicate  handling  of  it.  He  perfected  the  new  form,  how- 
ever, in  stages.  '  A  Cantata,'  he  insisted  hi  his  1704 
Preface,  *  is  simply  a  fragment  of  Opera  made  up  of 
Aria  and  Recitative.'  But  the  restriction  excluded  from 
the  Cantata  its  most  appropriate  material.  In  his  1708 
cycle  he  found  a  place  for  the  chorus.  Finally,  he 
admitted  the  Bible  stanza  and  congregational  hymn. 
With  their  inclusion  the  Cantata  libretto  assumed  the 
form  familiar  to  us  in  Bach's  use.  It  represents  a  com- 
bination of  secular  Opera  and  ecclesiastical  Motet.  The 
free  Arias  and  Recitativi  are  derived  from  the  one,  the 
Bible  stanzas  and  congregational  hymns  perpetuate  the 
traditions  of  the  other.  Unity  of  design  is  stamped  on 

1  Nos.  18,  61,  142,  160,  and  69.     See  Table. 

*  He  was  born  May  12,  1671  (Spitta,  i.  470). 

3  The  volume  is  entitled  '  Erdmann  Neumeisters  Geistliche  Cantaten 
statt  einer  Kirchen-Musik.  Die  zweyte  Auflage.' 

*  Entitled     'Herrn    Erdmann    Neumeisters    Fiinffache    Kirchen- 
Andachten,'  Leipzig,  1716. 

6  Spitta,  i.  474.  •  Vol.  i.  466  ff. 


170          JOHANN  SEBASTIAN  BACH 

the  whole  by  its  general  subordination  to  the  Gospel 
for  the  Day.  Thus,  at  the  moment  when  Bach  was  about 
to  devote  his  genius  to  the  Cantata,  Neumeister  oppor- 
tunely provided  him  with  a  libretto  singularly  adapted 
to  the  end  Bach  had  in  view,  and  appropriate  to  the 
musical  expression  by  which  he  proposed  to  secure  it. 
He  adhered  to  it  almost  to  the  end  of  his  life,  and  found 
unfailing  inspiration  in  Neumeister's  sincerity,  delicacy, 
and  uniformly  religious  outlook.  Neumeister's  Arias, 
with  a  single  exception,1  are  hymn-like  in  mood  and  metre. 
His  Recitativi  are  reflective  and  prayerful,  rarely  oratorical 
or  pictorial,  simple  communings  upon  the  Gospel  themes 
which  the  libretto  handles.2 

Bach's  early  introduction  to  Neumeister's  texts  is 
explained  by  the  close  relations  between  the  Courts  of 
Weimar  and  Eisenach,  by  his  associations  with  his  own 
birthplace,  and  his  intimacy  with  Georg  Philipp  Telemann, 
Kapellmeister  there,  for  whose  use  Neumeister's  third  and 
fourth  cycles  were  written.3  Bach  set,  in  all,  seven  of  the 
libretti — four  from  the  fourth  cycle,4  one  from  the  third,5 
and  two  from  the  first,6  one  of  which  (No.  142)  differs  so 
much  from  the  published  version  as  to  raise  the  question 
whether  Bach  did  not  receive  it  direct  from  Neumeister 
in  the  form  in  which  he  set  it.7 

That  Bach  should  have  set  no  more  than  seven  of 
Neumeister's  texts 8  is  strange.  He  shrank,  perhaps, 
from  appropriating  libretti  on  which  his  friend  Telemann 
had  a  prior  claim.9  But  the  reason  is  found  rather  in  the 
fact  that  at  Weimar  Bach  discovered  in  1715  a  local 

See  the  Aria  (Duetto)  of  Cantata  No.  28. 

See  particularly  the  Litanei  in  Cantata  No.  18. 

Telemann  was  Carl  Philipp  Emmanuel  Bach's  godfather  (Spitta,  i. 
486). 

Nos.  24,  28,  59,  61.  •  No.  18. 

Nos.  142,  160.  ">  See  Spitta,  i.  630. 

His  influence  is  also  detected  in  Nos.  27,  56,  199. 

Telemann  also  set  the  libretti  of  Bach's  Nos.  18  and  142.  See 
Spitta,  i.  487. 


THE  CHURCH  CANTATAS  171 

poet  of  first-rate  ability  who,  with  perhaps  but  one 
exception,  wrote  the  libretti  of  all  the  Cantatas  he  com- 
posed during  the  last  two  years  of  his  Weimar  appoint- 
ment. 

Salomo  Franck,  Bach's  new  collaborator,  was  Curator 
of  the  Ducal  Museum  of  Coins  and  Medals  at  Weimar.  He 
was  twenty-six  years  older  than  Bach.  But  Spitta's 
conjecture,1  that  the  two  men  were  not  acquainted,  is 
hardly  tenable.  Both  resided  in  the  same  small  provincial 
town,  both  were  in  the  Duke's  service,  and  throughout 
1715  and  1716  collaborated  in  at  least  ten  Cantatas 
performed  in  the  Ducal  Chapel.  Moreover,  though  the 
Preface  of  Franck's  first  cycle  is  dated  4th  June  171 5,2 
Bach  had  already  set  one  of  its  libretti  for  Easter  of  that 
year.  A  second  cycle  of  texts,  of  which  Bach  made  little 
use,3  was  published  by  Franck  in  1717.4 

Schweitzer,  no  doubt,  is  correct  in  his  conclusion 5 
that  Bach  was  drawn  to  Franck  by  his  poetic  insight,  his 
mysticism,  and  innate  feeling  for  nature.  It  must  be 
remembered,  too,  that  his  libretti  were,  in  some  degree, 
official.  On  the  other  hand,  Franck  was  Neumeister's 
inferior  in  ability  to  conceive  a  picture  fit  to  express 
Bach's  larger  moods,  and  on  occasion  could  descend  to 
sheer  bathos.6  But  his  texts  have  a  rhythmic  swing  and 
melody  which  Bach  found  agreeable.  He  set  at  least 
sixteen  of  them,  and  returned  to  them  even  after  he 
settled  at  Leipzig. 

The  circumstances  which  terminated  Bach's  service  at 

»  Vol.  i.  630. 

*  Wustmann,  'Job.  Seb.  Bach's  Kantaten-Texte '  (1913),  p.  xxii  n. 
The  cycle  is  entitled  '  Evangelisches  Andachte-Opffer.' 

*  Only  Nos.  70,  147,  and  186  are  taken  from  it. 

4  Entitled  '  Evangelische  Sonn-  und  Fest-Tages  Andachten.' 
8  Vol.  ii.  131. 

*  For  instance,  the  Aria  in  Cantata  No.  168,  beginning  : 

'  Kapital  und  Interessen 
Meiner  Sohulden  gross  und  klein, 
Mussen  einst  verreohnet  sein.' 


172          JOHANN  SEBASTIAN  BACH 

Weimar  are  familiar,  and  need  not  be  restated.  He  re- 
ceived a  new  appointment  at  Cothen  on  1st  August  1717, 
and  took  up  his  duties  there,  probably  at  Christmas,  that 
year.1  His  position  was  that  of  Capellmeister  to  the 
princely  Court.  He  never  styles  himself  Court  Organist,2 
and  his  duties  severed  him  for  five  years  from  the  service 
of  the  Church,  to  which  he  had  declared  his  particular 
dedication  in  1708.  The  Cothen  Court  was  unpretentious. 
The  Prince  was  a  Calvinist.  Figurate  music  was  not 
permitted  in  the  Court  Chapel,  and  its  Organ  was  small 
and  inadequate.  Hence  Bach  devoted  himself  chiefly 
to  chamber  music,  and  only  two  genuine  Church  Cantatas 
belong  to  this  period  of  his  career.  Both  must  have 
been  written  for  performance  elsewhere,  possibly  in  con- 
nection with  Bach's  frequent  Autumn  tours  as  a 
performer.3 

For  both  Cantatas  Bach  employed  a  librettist,  other- 
wise little  known,  named  Johann  Friedrich  Helbig,  State 
Secretary  to  the  Eisenach  Court.  In  March  1720,4  more 
than  two  years  after  Bach's  arrival  at  Cothen,  Helbig 
published  a  cycle  of  '  Musical  Texts  on  the  Sunday  and 
Saints'  Day  Gospels  throughout  the  year,'  for  performance 
'  in  God's  honour  by  the  Prince's  Kapelle  at  Eisenach.'  5 
How  they  came  into  Bach's  hands  we  do  not  know,  but 
can  readily  conjecture.  They  are  indifferent  poetry, 
judging  them  by  the  two  specimens  Bach  made  use  of, 
and  are  uniform  in  construction.  The  first  movement 
invariably  is  a  Chorus  upon  a  text  from  the  Gospel  for 
the  Day,  or  a  Scripture  passage  closely  related  to  it. 
Two  Arias  separated  by  a  Recitativo  follow.  A  Choral 
brings  the  libretto  to  an  end.6 

The  first  of  the  two  Cantatas  written  to  Helbig's  words 

1  Spitta,  ii.  5  ;  Schweitzer,  i.  106.  2  Spitta,  ii.  3. 

3  The  two  Cantatas  are  Nos.  47  and  141. 

4  Wustmann,  p.  xxiii.  6  Spitta,  ii.  12  n. 

6  The  Choral  is  absent  from  No.  141.  It  should  be  '  Christe,  du 
Lamm  Gottes.' 


THE  CHURCH  CANTATAS  173 

was  designed  for  the  Seventeenth  Sunday  after  Trinity, 
which  fell  in  1720  on  September  22.1  Spitta  conjectures  2 
that  Bach  intended  it  for  performance  at  Hamburg.  In 
fact,  his  wife's  death  postponed  Bach's  visit  to  that  town 
until  November,  by  which  date  the  Sunday  appropriate 
to  the  Cantata  had  passed.  Spitta  holds  that  the 
Cantata  may  have  been  performed,  after  all,  during  the 
visit.  Schweitzer  is  sceptical.3  But  Bach  certainly 
expended  great  pains  upon  the  score. 

The  second  Helbig  Cantata  4  is  for  the  Third  Sunday 
in  Advent,  and  the  date  of  it  would  appear  to  have  been 
1721.  It  is  one  of  the  least  agreeable  of  Bach's  works. 
Spitta  6  declares  it  a  juvenile  composition  hastily  adapted 
to  a  new  libretto.  Schweitzer 6  expresses  the  same 
opinion,  and  Sir  Hubert  Parry  7  finds  the  work  '  rather 
commonplace.'  Its  genuineness  is  discussed  by  Max 
Schreyer  in  the  '  Bach-Jahrbuch  '  for  1912,  and  more 
recently  Rudolf  Wustmann  has  insisted  that  it  does  not 
bear  the  stamp  of  Bach's  genius.8  If  it  actually  was 
composed  hi  1721,  its  production  must  have  coincided 
with  Bach's  second  marriage  on  December  3  of  that  year.9 
In  that  case,  his  resort  to  old  material  is  explicable. 

Only  these  two  Cantatas  were  composed  at  Cothen. 
But  later,  at  Leipzig,  two  others  were  manufactured  out 
of  secular  material  written  there.10  It  is  unnecessary  to 
refer  to  them,  except  to  remark  that  in  each  case  Bach 
appears  to  have  been  the  author  of  the  new  libretto.  In 
the  first  of  them  n  it  is  clear  that  he  was  handicapped  by 
the  frankly  secular  metre  of  the  original  stanzas.  The 

1  Schweitzer,  ii.  147.  The  Cantata  is  No.  47,  '  Wer  sich  selbst 
erhohet.' 

Vol.  ii.  13.  3  Vol.  ii.  147. 

No.  141  :    '  Das  ist  je  gewisslich  wahr.' 
Vol.  ii.  15.  «  Vol.  ii.  148. 

'  Johann  Sebastian  Bach,'  p.  108.  8  Op.  cit.,  Note  195. 

Spitta,  ii.  147.  w  Nos.  134  and  173. 

11  No.  134  :   '  Ein  Herz,  daa  seinen  Jesum  lebend  weiss.' 


174          JOHANN  SEBASTIAN  BACH 

second  of  them,1  originally  a  Birthday  Ode  to  Prince 
Leopold  of  Anhalt-Cothen,  is  a  masterly  conversion  into 
a  Whit-Monday  text  which,  assuming  that  Bach  wrote 
it,  puts  his  literary  facility  beyond  question. 

Bach  made  the  last  move  in  his  professional  career  on 
May  31,  1723,  when  he  was  inducted  Cantor  of  St. 
Thomas'  School  at  Leipzig,  with  particular  charge  of  the 
Churches  of  St.  Thomas  and  St.  Nicolas.  Here  by  far 
the  greater  number  of  his  Cantatas  appeared,  and  172 
of  them  survive.  They  are  too  numerous  to  be  con- 
sidered individually,  and  their  classification  is  rendered 
difficult  by  the  fact  that  the  authorship  of  most  of  their 
libretti  is  conjectural  and  not  ascertained.  They  fall, 
however,  into  two  large  categories,  each  of  which  exhibits 
characteristics  of  its  own. 

The  dividing  year,  clearly  but  not  arbitrarily,  is  1734. 
Before  it  and  after  it  Bach  was  aided  by  new  writers. 
But  the  earlier  period  pre-eminently  was  one  of  experi- 
ment, out  of  which  emerged  the  glorified  hymn-libretto, 
or  Choral  Cantata,  of  Bach's  last  years.  That  it  sprang, 
in  some  degree,  from  the  difficulty  of  finding  good  original 
texts  in  sufficient  number  may  be  granted.  That  it  was 
adopted  as  an  avenue  of  escape  from  Picander's  coarser 
work  is  a  conjecture  based,  apparently,  upon  a  prevalent 
exaggeration  of  Bach's  dependence  on  that  writer.  The 
fundamental  reason  which  led  Bach  to  the  hymn-libretto 
undoubtedly  was  the  fact  that  it  most  closely  fulfilled 
the  ideals  which  informed  his  work. 

The  first  Cantata  performed  during  Bach's  Cantorship  2 
reveals  a  new  author,  whose  assistance,  if  the  conclusion 
is  well  grounded,  was  at  Bach's  disposal  throughout  the 
whole  of  the  earlier  Leipzig  period.  Spitta's  keen  insight 
failed  him  in  this  instance.  He  betrays  no  recognition  of 

1  No.  173  :   '  Erhotes  Fleisch  und  Blut.' 

*  No.  75  :  '  Die  Elendeu  sollen  essen,'  sung  on  May  30,  the  day 
preceding  Bach's  formal  induction. 


THE  CHURCH  CANTATAS  175 

the  new  writer,  and  occasionally  l  attributes  his  libretti 
to  Picander.  The  credit  of  the  discovery  belongs  to 
Rudolf  Wustmann,  though  he  fails  to  work  it  out  to  its 
fullest  conclusions.2 

No  one  can  read  the  early  Leipzig  libretti  without 
being  struck  by  the  number  of  them  that  are  not  only 
uniform  in  structure,  but  similar  in  tone  and  point.  They 
all  begin  with  a  Bible  text,  chosen  frequently,  but  not 
invariably,  from  the  Gospel  for  the  Day.  Every  one  of 
them  ends  with  a  hymn-stanza.  Their  Arias,  with  hardly 
an  exception,3  are  written  in  what,  compared  with 
Picander 's  rollicking  dactyls,  may  be  held  hymn -metres. 
Their  Recitativi,  almost  invariably,  are  didactic  or 
exegetical.4  They  do  not  display  the  vapid  rhetoric  of 
Picander.  Nor  do  they  express  the  reflective  or  prayerful 
mood  that  reveals  Bach.  They  are  essentially  expositive 
and,  it  is  noticeable,  are  studded  with  direct  or  veiled 
references  to  Bible  passages  which  expand  or  enforce  the 
lesson  of  the  initial  text.  In  a  word,  they  suggest  the 
work  of  a  preacher  casting  his  sermon  notes  into  lyrical 
form,  an  impression  which  is  strengthened  by  the  fact 
that  the  libretto  invariably  opens  with  a  Scripture  passage 
and  frequently  blends  the  Gospel  and  Epistle  for  the 
Day  in  one  harmonious  teaching.  Spitta  detected 
this  characteristic.  But  he  failed  to  follow  up  the  clue. 
He  speaks 5  of  one  of  these  texts  6  as  a  '  moralising 
homily/  a  phrase  concisely  appropriate  to  them  all. 
Moreover,  a  remark  of  his,7  pointing  the  significance  of 

1  For  instance,  Noa.  67  and  102. 

1  Wustmann,  by  implication,  only  associates  eight  libretti  (Cantatas 
Nos.  37,  44,  75,  76,  86,  104,  166,  179)  with  Weiss.  All  of  them  belong 
to  the  early  years,  1723-27.  *  See  Nos.  75  and  105. 

4  See  Nos.  25,  42,  77.  As  an  extreme  illustration,  the  first  Recitative 
of  No.  25  begins  with  the  words,  '  Die  ganze  Welt  ist  nur  ein  Hospital.' 

*  Vol.  ii.  388. 

•  Cantata  No.  65  :    '  Sie  werden  aus  Saba  Alle  kommen.' 
1  Vol.  i.  361. 


176          JOHANN  SEBASTIAN  BACH 

the  god-parents  chosen  by  Bach  for  his  children — Eilmar, 
for  instance — as  revealing  Bach's  intimate  associates  at 
the  moment,  affords  another  clue  to  the  personality  of 
the  new  writer. 

Among  the  clergy  of  St.  Thomas'  during  Bach's 
Cantorate  were  two  men,  father  and  son,  each  of  whom 
bore  the  name  Christian  Weiss.  The  elder  was  Pastor 
of  the  Church  from  1714  till  his  death  in  1737.  He  was 
a  cultured  man,  hi  touch  with  the  University,  and 
possibly  formed  a  link  between  it  and  Bach,  to  whom  he 
showed  greater  cordiality  than  the  Cantor  received  from 
other  clerical  colleagues.  In  1732  his  daughter,  Dorothea 
Sophia  stood  godmother  to  Bach's  son,  Johann  Christoph 
Friedrich,  afterwards  famous  as  the  '  Biickeburg  Bach.' l 
In  1737  his  son  stood  sponsor  to  Bach's  daughter,  Johanna 
Caroline.2  Nor  can  it  be  altogether  without  significance 
that  the  names  Dorothea,  Sophia,  Christian,  are  borne  by 
others  of  Bach's  children  by  his  second  marriage.  There 
is  sufficient  evidence,  therefore,  that  Bach's  relations  with 
the  elder  Weiss  were  intimate  enough  to  support  a 
literary  partnership.  Moreover,  circumstances  lend 
weight  to  the  inference.  For  some  years  before  Bach's 
arrival  in  Leipzig,  Weiss  suffered  from  an  affection  of  the 
throat  which  kept  him  from  the  pulpit.  But,  during  the 
first  year  of  Bach's  Cantorate,  he  was  able  to  resume  his 
preaching.  If  he  was,  in  fact,  the  author  of  the  libretti, 
we  can  have  little  difficulty  in  concluding  that  they  and 
his  sermons  were  built  on  the  same  text. 

So  far  as  they  can  be  identified — the  attempt  is 
somewhat  speculative — Weiss  provided  Bach  with  at 
least  thirty-three  libretti.  He  set  five  of  them  hi  1723, 
three  in  1724,  nine  in  or  about  1725,  one  in  1727,  two  in 
1730,  six  in  1731,  three  in  1732,  and  four  in  the  later 
Leipzig  period.3  Fourteen  others  bear  a  constructional 

1  Wustmann,  p.  xxiv.  2  Ibid. 

3  See  the  Table. 


THE  CHURCH  CANTATAS  177 

resemblance  to  Weiss's  texts,1  but  their  character  refers 
them  rather  to  Bach  or  Picander.  Even  so,  if  we  do  not 
exaggerate  his  activity,  Weiss  seems  to  have  written  at 
least  one -sixth  of  the  Leipzig  libretti  and  more  than  a 
quarter  of  those  of  the  earlier  period.  Without  a  doubt 
he  eased  a  difficult  situation  in  Bach's  experience  before 
his  regular  association  with  Picander  began. 

Apart  from  their  revelation  of  Christian  Weiss,  the 
libretti  of  Bach's  first  year  at  Leipzig  do  not  call  for 
comment.  Franck  and  Neumeister  appear  among  them, 
and  we  trace  Bach's  hand  in  nine.2  But  at  Easter,  1724, 
he  broke  new  ground  with  a  libretto  whence  developed 
the  Cantata  form  of  his  latest  period. 

The  Cantata  for  Easter  Day  1724,3  is  Bach's  earliest 
setting  of  an  entire  congregational  hymn .  Spitta  suggests  4 
that  he  felt  the  fitness  of  giving  the  libretto  an  antique 
character  to  match  the  hymn's  melody.  However  that 
may  be,  Bach  would  appear  already  to  have  been  grop- 
ing towards  the  Choral  Cantata  of  the  late  '30's.  And 
though  he  did  not  repeat  the  experiment  until  the  Easter 
of  173 1,5  he  treated  three  hymn-libretti  in  the  interval 
in  a  manner  which  shows  him  already  to  have  worked 
out  the  essentials  of  the  Choral  Cantata  form.6 

Another  landmark  meets  us  a  year  and  a  half  after  the 
Easter  experiment.  On  September  23,  1725(?) — the 
Seventeenth  Sunday  after  Trinity — Bach  produced  a 
Cantata  7  whose  Arias  are  set  to  words  which  had  appeared 
in  print  in  the  preceding  year.  Their  author  was  a  hack 
writer  named  Christian  Friedrich  Henrici,  or,  as  he 
preferred  to  style  himself,  Picander.  His  hand  probably 

1  They  are  Nos.  6,  17,  22,  43,  48,  57,  144,  148,  157, 159, 171,  190, 195, 
and  the  incomplete  Cantata,  '  Ehre  sei  Gott  in  der  Hohe.' 

Nos.  16,  23,  63,  81,  83,  153,  154,  184,  194.     See  the  Table. 
No.  4  :   '  Christ  lag  in  Todesbanden.'  «  Vol.  ii.  393. 

See  the  Table  :  No.  112,  '  Derr  Herr  ist  mein  getreuer  Hirt.' 
Nos.  8,  20,  93. 

No.  148  :   '  Bringet  dem  Herrn  Ehre  seines  Namens.' 
M 


178          JOHANN  SEBASTIAN  BACH 

is  also  traced  in  the  libretto  used  by  Bach  on  the  preceding 
Sunday  l  and  again  in  that  for  Sexagesima  in  the  same 
year.2  But  the  evidence  is  only  inferential.  That  he 
collaborated  with  Bach  on  September  23,  1725  (?),  is 
incontestable,  and  the  work  defines  the  beginning  of  a 
long  and  fruitful  partnership. 

Spitta,3  who  tells  us  all  that  is  known  of  Picander,  has 
sufficiently  exposed  his  superficial  literary  facility.  He 
commenced  to  write  sacred  poetry  in  1724,  and  on  Advent 
Sunday  of  that  year  began  a  cycle  of  '  Profitable  Thoughts,' 
so  he  termed  them,  upon  the  Sunday  and  Saints'  Day 
Gospels.  He  published  them  in  1725,  when  the  cycle  was 
complete.4  Three  years  later  he  issued  a  cycle  of  Cantata 
texts  for  1728-29  in  the  Neumeister  form.6  That  he 
intended  them  for  Bach's  use  is  apparent  in  the  fact 
that  he  expressly  dedicated  them  to  the  service  of  '  our 
incomparable  Capellmeister.'  But  Bach  made  the  sparest 
use  of  them  and  of  the  earlier  '  Profitable  Thoughts '  alike. 
From  the  latter  he  took  not  one  libretto.6  Of  the  1728-29 
cycle  he  used  only  eight  texts.7  One  more  libretto  can  be 
referred  to  Picander's  later  publications,8  and  of  six  others 
we  can  be  sure  that  they  are  based  upon  his  texts.9  In 
other  words,  of  the  original  libretti  of  the  Leipzig  period 
we  can  trace  Picander's  hand  positively  in  no  more  than 
fifteen. 

It  is  necessary  to  emphasise  this  point.  For  Spitta  10 
has  stated  positively  that  Picander  wrote  '  most '  of  the 
Leipzig  libretti,  and  his  opinion  has  been  generally 

1  No.  8  :   '  Liebster  Gott,  wann  werd'  ich  sterben.' 
1  No.  181  :    '  Leichtgesinnte  Flattergeister.'  3  Vol.  ii.  340  £E. 

4  The  volume  is  entitled  '  Sammlung  Erbaulicher  Gedancken,  Bey 
und  iiber  gewohnlichen  Sonn-  und  Festtags-Evangelien,'  Leipzig. 

*  '  Cantaten  auf  die  Sonn-  und  Fest-Tage  durch  das  gantze  Jahr,' 
Leipzig,  1728.     He  reprinted  them  in  1732  in  his  '  Satyrische  Gedichte.' 

6  But  see  Cantata  No.  148  and  Spitta,  ii.  693.     Also  No.  19. 

7  Cantatas  Nos.  145,  156,  159,  171,  174,  188,  190  (one  version),  and 
the  Cantata  '  Ehre  sei  Gott.'  8  No.  157. 

•  Nos.  19,  30,  36,  84,  148,  197.  »  Vol.  ii.  346. 


THE  CHURCH  CANTATAS  179 

accepted.  But  its  correctness  may  be  contested.  It  is 
suspicious,  to  begin  with,  that  Picander  never  published 
the  texts  which  Spitta  asserts  him  to  have  poured  out  in 
such  profusion.  '  He  placed  no  value,'  Spitta  answers 
readily,  '  on  these  manufactured  compositions,  put 
together  hastily  to  please  his  friend.'  But  the  argument 
cannot  stand.  Why  should  Picander  have  thought  less 
of  libretti  actually  used  by  his  *  incomparable  Capell- 
meister  '  than  of  those  published  for  and  rejected  by 
him  ? — for  Spitta  does  not  venture  to  declare  that  as 
literature  the  rejected  were  superior  to  the  accepted  texts. 
If  out  of  a  published  cycle  of  libretti  expressly  written 
for  him  Bach  chose  only  eight  texts,  are  Picander 's 
'  manufactured  compositions,'  as  Spitta  calls  them,  likely 
to  have  attracted  him  to  a  greater  degree  ?  We  can 
detect  his  hand  perhaps  in  six  Cantatas  *  besides  those 
already  mentioned,  and  Bach  relied  on  him  exclusively 
for  his  secular  texts.  One  concludes,  none  the  less,  that 
Bach  rarely  accepted  an  original  Cantata  libretto  from 
Picander,  and  employed  him  chiefly  on  the  Choral 
Cantatas  of  his  latest  period.  Excluding  them,  and 
adding  the  probable  to  the  actual  original  Picander  texts, 
they  total  only  twenty -one,  a  fraction  inadequate  to 
support  Spitta's  sweeping  statement. 

From  the  advent  of  Picander  in  1725,  to  the  end  of  the 
first  Leipzig  period  nine  years  later,  Bach  does  not  seem 
to  have  gone  outside  the  circle  of  familiar  authors  for  his 
regular  Cantata  texts.  On  October  17,  1727,  however, 
he  produced  a  funeral  Cantata,  or  '  Trauer-Musik,'  in 
memory  of  the  late  Queen  of  Poland,  the  libretto  of  which 
was  written  by  Professor  J.  C.  Gottsched.  The  partner- 
ship, in  fact,  was  accidental :  the  libretto  was  supplied 
to  Bach  with  the  commission  to  set  it  to  music,  and,  so 
far  as  is  known,  Gottsched  and  he  did  not  collaborate 
again. 

1  Nos.  32,  48,  67,  90,  144,  181. 


180          JOHANN  SEBASTIAN  BACH 

So,  reviewing  Bach's  activities  during  his  first  eleven 
years  at  Leipzig,  we  find  that  of  the  hundred  libretti  set 
by  him  to  music  Christian  Weiss  heads  the  list  as  the 
presumed  author  of  twenty  -nine.  Bach  follows  him  with 
eighteen.1  Picander's  hand  appears  in  fifteen,  Franck's  in 
eight,2  Neumeister's  and  Gottsched's  in  one  each.  Fifteen 
libretti  are  congregational  hymns  in  their  original  or 
paraphrased  form.  One  is  the  '  Gloria  in  Excelsis  '  of 
the  B  minor  Mass  adapted  as  a  Christmas  Cantata 
(No.  190).  Twelve  are  by  authors  not  identified. 

Passing  to  the  later  Leipzig  period,  seventy-two  sur- 
viving Cantatas  are  attributed  to  the  years  1735-50. 
They  reveal  one,  perhaps  two,  new  writers.  The  first 
of  them,  Marianne  von  Ziegler,  was  identified  by  Spitta  in 
1892.  She  was  the  widow  of  an  officer,  resident  in 
Leipzig,  a  cultured  woman,  in  touch  with  University  life, 
her  house  a  salon  for  music  and  musicians.3  There  is 
no  reason  to  suppose  Bach  to  have  been  of  her  circle, 
or  that  he  was  acquainted  with  her  literary  gifts.  Indeed 
the  contrary  is  to  be  inferred  from  the  fact  that,  though 
she  published  her  poems  in  1728,4  he  does  not  seem  to 
have  known  them  until  seven  years  later,  when  he  used 
them  for  nine  consecutive  Sundays  and  Festivals  in 
1735,  beginning  on  the  Third  Sunday  after  Easter,  and 
ending  on  Trinity  Sunday. 

In  addition  to  these  nine  libretti,  both  Spitta  6  and 
Schweitzer  6  attribute  to  her  the  text  of  Bach's  Cantata 
for  the  Second  Sunday  after  Easter  in  the  same  year.7 
It  is  uniform  in  construction  with  the  authentic  nine,  but 
is  not  among  the  authoress's  published  works.  Wustmann  8 

1  Nos.  16,  22,  23,  27,  35,  51,  56,  58,  63,  66,  81,  82,  83,  153,  154,  194, 
195.  No.  184  is  an  adaptation.  See  also  Nos.  19,  36,  84,  144,  145, 
148,  for  Bach's  collaboration  with  Picander. 

•  Besides  No.  80,  a  Choral  Cantata.  »  Schweitzer,  ii.  332  ff. 
4  Entitled  « Versuch  in  gebundener  Schreibart.'  8  Vol.  iii.  71. 

•  Vol.  ii.  331  n.  7  No.  85  :    '  Ich  bin  ein  guter  Hirt.' 

•  Note  60. 


THE  CHURCH  CANTATAS  181 

finds  the  tone  of  the  libretto  less  ardent  and  its  rhythm 
rougher  than  those  published  under  her  name.  Admit- 
ting the  soundness  of  Wustmann's  criticism,  one  hazards 
the  opinion  that  the  challenged  text  was  written  at  the 
period  when  Bach  set  it,  namely,  in  1735,  eight  years 
after  the  poetess  published  her  earlier  texts.  The  differ- 
ence of  time  may  account  for  the  difference  of  texture  to 
which  Wustmann  draws  attention,  but  leaves  undecided 
the  question  whether  Bach  was  drawn  to  the  earlier 
through  the  later  and  unpublished  texts  or  vice  versa. 
It  is  quite  probable  that  he  set  other  libretti  by  the 
same  writer,  though  Schweitzer's1  attribution  to  her 
of  a  second  text  for  Ascension  Day,  1735,  must  be 
rejected.2 

It  is  worth  noticing,  since  it  certainly  reveals  Bach's 
preference,  that  Marianne  von  Ziegler's  libretti  are  con- 
structed almost  invariably  in  the  Weiss  form.  Every  one 
of  them  but  three  3  opens  with  a  Bible  passage,  invariably 
taken  from  St.  John's  Gospel,  which  provides  the  Gospel 
for  the  Day  from  the  First  Sunday  after  Easter  down  to 
Trinity  Sunday,  excepting  Ascension  Day.  All  but  one 
(No.  68)  of  the  libretti  conclude  with  a  Choral,  and  their 
Arias  are  hymn-like  in  metre.  The  tone  of  them,  how- 
ever, is  warmer,  more  personal,  less  didactic  than  the 
Weiss  texts.  That  Bach  regarded  them  with  particular 
favour  is  apparent  in  the  circumstance  that  he  took  the 
trouble  to  revise  all  but  one  of  them.4  That  they  stirred 
his  genius  deeply  is  visible  in  the  settings  he  gave  them. 

After  1735  the  chronology  of  the  Cantatas  is  not 
certainly  ascertained.  Of  those  that  fall  after  the  Ziegler 
year,  as  we  may  term  it,  the  majority  can  only  be  dated 
approximately  as  circa  1740,  that  is,  anywhere  between 
1736  and  1744.  Nor,  except  rarely,  can  we  detect  in 
their  libretti  the  work  of  those  on  whom  Bach  elsewhere 

1  Vol.  ii.  331  n.  «  No.  33  :   '  Qott  f&hret  »uf  mit  Jauchzen.' 

»  See  Table.  «  No.  74. 


182          JOHANN  SEBASTIAN  BACH 

relied.  Weiss,  who  died  late  in  1737,  is  only  an  occasional 
contributor.  The  texts  of  this  period,  in  fact,  are  the 
outcome  of  Bach's  own  experiments  in  libretto  form. 
Thirty-three  of  them  are  Choral  Cantatas,  whose  evolution 
it  remains  to  trace  concisely. 

That  Bach  should  have  turned  to  Lutheran  hymnody, 
chiefly  of  the  fifteenth  and  sixteenth  centuries,  and  that  the 
Cantatas  built  upon  it  should  be  his  most  perfect  religious 
work  is  not  surprising.  The  hymns  and  their  melodies 
were  the  foundations  upon  which  the  temple  of  German 
Protestantism  had  been  reared.  They  appealed  vividly 
and  powerfully  to  Bach's  spiritual  nature,  and  profoundly 
influenced  his  musical  utterance.  His  whole  career,  as 
Sir  Hubert  Parry  points  out,1  was  an  effort  to  widen  his 
means  for  self-expression.  And  the  Choral  Cantata,  hi 
effect,  was  the  reconciliation  or  blending  of  this  self- 
discipline.  It  was  the  supreme  achievement  of  Bach's 
genius  to  assert  the  faith  and  idealism  of  Lutheran 
hymnody  with  the  fullest  resources  of  his  technique. 

It  is  not  our  task  to  consider  the  hymn  libretto  in  its 
relation  to  the  structure  of  Bach's  latest  Cantatas. 
Necessarily  it  tied  him  to  a  stereotyped  design,  which  he 
clung  to  with  greater  persistency  because  it  exactly 
fulfilled  his  devotional  purpose.  But  experience  com- 
pelled him,  after  a  brief  trial,  to  discard  the  simple  hymn 
libretto.  In  the  earlier  Leipzig  years  as  many  as  eight 
Choral  Cantatas  2  are  set  to  the  unaltered  text  of  a 
congregational  hymn.  In  the  later  Leipzig  period  only 
two  3  libretti  are  of  that  character.  Bach,  in  fact,  soon 
realised  that,  while  the  unaltered  hymn-stanza,  with  its 
uniform  metre  and  balanced  rhyme,  was  appropriate  to 
the  simple  Choral  or  elaborate  Fantasia,  it  was  unmalle- 
able  for  use  as  an  Aria  or  Recitative.  Hence,  retaining 
the  unaltered  Hymn-stanza  for  the  musical  movements 

1  Op.  oil.,  p.  377.  »  See  Table. 

»  Nos.  100  and  107,  both  of  them  c.  1735. 


THE  CHURCH  CANTATAS  183 

congruous  to  it,  he  was  led  to  paraphrase,  in  free  madrigal 
form,  those  stanzas  which  he  selected  for  the  Arias  and 
Recitativi. 

As  early  as  September  16,  1725,1  Bach  was  moving 
towards  this  solution.  And  it  is  significant  that  Picander's 
hand  is  visible  in  the  libretto.  The  next  example 2 
occurs  three  years  later,  and  again  reveals  Picander's 
authorship.  Two  other  instances  also  occur  in  the  early 
Leipzig  period.3  To  that  point,  however,  it  is  clear  that 
Bach  was  not  satisfied  as  to  the  most  effective  treatment 
of  the  hymn-libretto.  But  in  the  second  Leipzig  period, 
after  his  collaboration  with  Marianne  von  Ziegler,  he 
arrived  at  and  remained  constant  to  a  uniform  design. 
Of  the  thirty-nine  Choral  Cantatas  of  the  whole  period 
only  two  exhibit  the  earlier  form.  Of  all  the  others  the 
libretto  consists  partly  of  unaltered  hymn-stanzas — in- 
variably used  for  the  first  and  last  movements,  and 
occasionally  elsewhere — but  chiefly  of  paraphrased  stanzas 
of  the  hymn,  whose  accustomed  melody,  wherever  else 
it  may  be  introduced,  is  associated  invariably  with  the 
hymn  when  the  text  is  used  in  its  unaltered  form.  We, 
to  whom  both  words  and  melody  are  too  frequently 
unfamiliar,  may  view  the  perfections  of  the  Choral 
Cantata  with  some  detachment.  But  Bach's  audience 
listened  to  hymns  and  tunes  which  were  in  the  heart  of 
every  hearer  and  a  common  possession  of  them  all.  The 
appeal  of  his  message  was  the  more  arresting  because  it 
spoke  as  directly  to  himself  as  to  those  he  addressed. 

It  would  be  satisfactory  and  interesting  to  point 
positively  to  Bach's  own  handiwork  in  these  libretti,  of 
which  he  set  fifty-four  in  the  period  1724-44.  Un- 
fortunately it  is  impossible  to  do  so,  except,  perhaps,  in  a 
single  case,4  where  we  can  reasonably  infer  that  the 

1  No.  8,  for  the  Sixteenth  Sunday  after  Trinity. 

1  No.  93,  for  the  Fifth  Sunday  after  Trinity  (1728). 

8  Nos.  9  (?  1731),  99  (c.  1733).  «  No.  122. 


184          JOHANN  SEBASTIAN  BACH 

libretto  is  his.  Of  the  rest,  one  is  by  Franck.1  In 
eighteen  of  them  the  hand  of  Picander  is  more  or  less 
patent.2  Nineteen 3  we  can  only  venture  to  mark 
'  anonymous/  though  Picander  is  probably  present  in 
most  of  them.  Ten  are  unaltered  congregational 
hymns.4  There  remain,  however,  five  5  in  which,  per- 
haps, we  detect  another,  and  the  last,  of  Bach's  literary 
helpers. 

Wustmann  draws  attention  6  to  the  libretto  of  Cantata 
No.  38,  a  paraphrase  of  Luther's  Psalm  130.  He  finds 
in  it,  and  reasonably,  an  expression  of  '  Jesus  religion  ' 
very  alien  to  Picander 's  muse,  and  suggests  the  younger 
Christian  Weiss  as  the  author  of  it.  Like  his  father,  he 
was  Bach's  colleague,  the  godfather  of  his  daughter,  and 
undoubtedly  on  terms  of  close  friendship  with  him.  But 
if  he  wrote  the  libretto  of  Cantata  No.  38,  probably  it  is 
not  the  only  one.  The  same  note  rings  in  four  more  of 
the  Choral  Cantatas,7  which  may  be  attributed  tentatively 
to  Weiss,  though  their  ascription  to  Bach  would  be 
equally  congruous. 

Returning,  however,  to  the  seventy-two  libretti  of  the 
later  Leipzig  period  we  reach  this  result :  More  than  half 
of  them  (thirty-nine)  are  congregational  hymns,  all  but 
two  of  which  are  of  the  paraphrased  type  in  which  we 
detect  the  work  of  Picander,  Bach  himself,  and  perhaps 
the  younger  Weiss.  Of  the  remaining  thirty-three 
original  libretti  Marianne  von  Ziegler  heads  the  list  with 
nine,  and  perhaps  ten.8  Bach  follows  with  a  problematical 

1  No.  80. 

*  Nos.  1,  2,  5,  8,  20,  26,  62,  78,  91,  92,  93,  96,  115,  121,  124,  127, 
138,  140. 

8  Nos.  7,  9,  10,  14,  33,  41,  94,  99,  101,  111,  113,  114,  116,  125,  126, 
130,  139,  178,  180. 

4  Nos.  4,  97,  100,  107,  112,  117,  129,  137,  177,  192. 

6  Nos.  3,  38,  123,  133,  135. 

«  P.  xxiv. 

">  Nos.  3,  123,  133,  135.  8  See  supra,  p.  180. 


THE  CHURCH  CANTATAS  185 

six,1  Picander  with  five,2  the  elder  Weiss  with  four,3 
Neumeister  with  one.4  One  text  is  taken  from  the  Bible.6 
Another  consists  of  a  single  stanza  of  a  hymn  by  Martin 
Behm.6  Five  are  by  authors  unknown  or  undetected.7 

But,  as  was  said  at  the  outset,  the  attribution  of 
particular  libretti  to  individual  writers  is  conjectural, 
except  in  comparatively  few  cases.  Yet,  unsatisfying  as 
it  is,  this  guess-work  reveals  with  approximate  correctness 
the  extent  to  which  Bach  drew  upon  his  own  and  other 
people's  abilities  for  the  texts  he  needed.  Summarising 
our  conclusions,  we  discover  that  about  one -quarter 
(fifty-four)  of  the  202  libretti  set  by  Bach  between  the 
years  1704  and  1744  were  provided  by  the  hymn-book. 
It  is  shown  elsewhere  8  that  all  but  eleven  of  them  are 
taken  from  Paul  Wagner's  volumes.  The  elder  Weiss 
comes  next  with  thirty-three  libretti.  Bach  follows  with 
thirty,  Salomo  Franck  with  twenty-one,  Picander  with 
twenty  (exclusive  of  his  arrangements  of  Choral  Cantata 
texts).  Marianne  von  Ziegler  contributes  ten,  Neumeister 
seven,  Eilmar  and  Helbig  two  each,  Gottsched  and 
Martin  Behm  one  each.  Three  libretti  are  taken  from 
the  Bible  or  Church  liturgy.  Eighteen  remain  anonymous. 

The  literary  qualities  of  the  libretti  are  not  under 
discussion  here.  They  have  a  characteristic,  however,  on 
which  one  cannot  forbear  from  remarking.  Indifferent 
literature  as,  for  the  most  part,  they  are — children  of 
then*  period  and  blemished  with  its  imperfections — they 
enshrine  an  extraordinarily  interesting  anthology  of  the 
religious  poetry  of  the  sixteenth,  seventeenth,  and  eighteenth 
centuries.  They  expose  the  evangelical  thought  of  Ger- 
many from  the  age  of  Luther  to  that  of  Bach,  and  are 

1  Nos.  17,  34,  43,  151,  197,  and  '  Herr  Gott,  Beherrscher  aller 
Dinge.' 

1  Nos.  30,  32,  48,  57,  90.  s  Nos.  45,  79,  110,  143. 

«  No.  28.  •  No.  50.  •  No.  118. 

7  Nos.  6,  11,  13,  146,  193. 

•  See  '  Bach's  Chorals,'  Part  n.,  Introduction. 


186          JOHANN  SEBASTIAN  BACH 

particularly  rich  in  the  lyrical  fervour  of  the  Reformation 
itself.  Of  the  seventy-seven  hymn-writers  whom  Bach 
includes  in  his  collection,  so  many  as  forty-four  belong 
to  the  sixteenth  century.  Only  thirteen  of  them  touch 
Bach's  own  period.  And  a  similar  bias  to  the  Reformation 
epoch  is  observable  in  his  choice  of  the  tunes  of  the 
Chorals,  which  are  absent  from  only  twenty-one  of  the 
Cantatas.  By  far  the  greater  number  of  them  are  coeval 
with  the  hymns  themselves  ;  that  is,  they  date  from  the 
Reformation  and  behind  it. 

Here  clearly  is  the  source  of  Bach's  inspiration,  the 
master-key  of  his  art.  He  touches  Luther,  is  in  a  sense 
his  complement,  his  art  builded  on  the  foundations 
Luther  laid,  consecrated  to  the  ends  Luther  vindicated, 
inspired  by  a  dedication  of  himself  to  God's  service  not 
less  exalted — a  great  artist,  a  great  Protestant,  a  great 
man.1 

1  The  above  article  and  the  Table  that  follows  were  communicated 
originally  to  the  Musical  Association  on  March  28,  1918. 


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APPENDIX   III 

THE  BACHGESELLSCHAFT  EDITIONS  OF  BACH'S 
WORKS 

THE  Bachgesellschaft  was  founded  on  December  15,  1850, 
issued  its  first  volume  in  1851,  and  was  dissolved  on 
January  27,  1900,  upon  the  publication  of  its  sixtieth  and 
concluding  volume.  The  Society  had  fulfilled  its  funda- 
mental purpose — the  publication  of  Bach's  works — and  on 
the  very  date  of  its  dissolution  the  Neue  Bachgesellschaft 
was  founded  with  the  object  of  popularising  Bach's 
music  by  publishing  it  in  practicable  form  and  by  holding 
Bach  Festivals.  A  secondary  object,  the  foundation  of 
a  Bach  Museum  at  Eisenach,  in  the  house  in  which  Bach 
was  born,  already  has  been  achieved.  Bach  Festivals 
have  been  held  at  regular  intervals — at  Berlin  in  1901, 
Leipzig  in  1904,  Eisenach — in  connection  with  the 
opening  of  the  Museum — in  1907,  at  Chemnitz  in  1908, 
Duisburg  in  1910,  Breslau  in  1912,  Vienna  in  1914. 
The  publications  of  the  new  Society  necessarily  are 
unimportant  by  the  side  of  those  of  its  predecessor. 
It  has,  however,  brought  to  light  and  published  a  Can- 
tata overlooked  by  the  old  Bachgesellschaft.  (See 
New  B.G.  xni.  (2).) 

The  publications  of  both  Societies  are  quoted  here  by 
their  year  of  issue — I.,  n.,  in.,  and  so  forth.  When  more 
than  one  volume  has  been  published  in  a  single  year  they 
are  differentiated  thus  :  xv.(l),  xv.(2).  When  a  volume 
appeared  upon  a  date  subsequent  to  the  Vereinsjahr  it 


226          JOHANN  SEBASTIAN  BACH 

bears,  the  date  of  the  Preface  is  indicated  in  a  bracket, 
e.g.  1872[1876]. 

The  editorial  work  of  the  original  Bachgesellschaft  was 
undertaken,  in  unequal  proportions,  by  ten  editors  during 
fifty  years.  Of  the  Society's  sixty  volumes  three  were 
edited  by  Moritz  Hauptmann  (1851-58),  one  by  Carl  F. 
Becker  (1853),  two  by  Julius  Rietz  (1854-56),  twenty- 
seven  by  Wilhelm  Rust  (1855-81),  one  by  Franz  Kroll 
(1866),  eleven  by  Alfred  Dorfifel  (1876-98),  six  by  Paul 
Graf  Waldersee  (1881-94),  five  by  Ernst  Naumann  (1886- 
94),  two  by  Franz  Wiillner  (1887-92),  and  two  by  Hermann 
Kretzschmar  (1895-1900). 

(A)  PUBLICATIONS  OF  THE  BACHGESELLSCHAFT 

I.  1851.      Kirchencantaten.      Erster  Band.      Ed.   Moritz 
Hauptmann.1 

No.  *1.  Wie  schon  leuchtet  der  Morgenstern. 
*2.  Ach  Gott,  vom  Himmel  sieh  darein. 
*3.  Ach  Gott,  wie  manches  Herzeleid  (c.  1740). 
*4.  Christ  lag  in  Todesbanden. 
5.  Wo  soil  ich  fliehen  hin. 
*6.  Bleib'  bei  uns,  denn  es  will  Abend  werden. 
7.  Christ  unser  Herr  zum  Jordan  kam. 
*8.  Liebster  Gott,  wann  werd'  ich  sterben  ? 
9.  Es  ist  das  Heil  uns  kommen  her. 
*10.  Meine  Seel'  erhebt  den  Herren ! 
Frontispiece  :  G.  Haussmann's  portrait  of  Bach,  in  the 
possession  of  St.  Thomas'  School,  Leipzig. 

1  The  Church  Cantatas  are  published  by  Peters  and  also  by  Breitkop 
and  Haertel.  A  prefixed  asterisk  indicates  that  an  English  edition 
of  the  Cantata  or  Oratorio  is  published  by  Novello  or  Breitkopf  anc 
Haertel. 

The  Organ  music  is  published  by  Novello,  to  whose  edition  references 
are  given  (N.),  Peters,  and  Breitkopf  and  Haertel.  A  collation  of  the 
Peters  and  Novello  editions  is  given  in  Appendix  V. 

The  Clavier  and  Instrumental  music  is  published  by  Peters,  to  whose 
edition  references  are  given  (P.), 


THE  BACHGESELLSCHAFT  EDITIONS     227 

II.  1852.     Kirchencantaten.     Z welter   Band.     Ed.  Moritz 

Hauptmann. 

*No.  11.  Lobet  Gott  in  seinen  Reichen. 
*12.  Weinen,  Klagen,  Sorgen,  Zagen. 

13.  Meine  Seufzer,  meine  Thranen. 

14.  War'  Gott  nicht  mit  uns  diese  Zeit. 

15.  Denn  du  wirst  meine  Seele  nicht  in  der  Holle  lassen. 

16.  Herr  Gott  dich  loben  wir. 

17.  Wer  Dank  opfert,  der  preiset  mich. 

18.  Gleich  wie  der  Regen  und  Schnee  vom  Himmel  fallt. 

19.  Es  erhub  sich  ein  Streit. 

20.  O  Ewigkeit,  du  Donnerwort  (c.  1725). 

III.  1853.    Clavierwerke.    Erster  Band.    Ed.  Carl  F.  Becker. 

(1)  Fifteen  Inventions  and  Fifteen  Symphonies  (Sinfonie) 

(P.  bk.  201).1 

(2)  Clavierubung,  Part  I.  :— 

Partiten  1-6  (P.  bks.  205,  206). 

(3)  Clavierubung,  Part  II. : — 

Concerto,  in  F  major,  in  the  Italian  style  (P  bk.  207). 
Partita  (Overture)  in  B  minor  (P.  bk.  208). 

(4)  Clavierubung,  Part  III.  :— 

Organ  Prelude  and  Fugue  in  E  flat  major  (N.  bk.  16 

pp.  19,  83).   * 

Four  Duetti  (P.  bk.-208  p.  78). 
Catechism  Choral  Preludes  (Organ)  : — 

1.  Kyrie,  Gott  Vater  in  Ewigkeit  (N.  bk.  16  p.  28). 
Christe,  aller  Welt  Trost  (ib.  p.  30). 

Kyrie,  Gott  heiliger  Geist  (ib.  p.  33). 

2.  Kyrie,  Gott  Vater  in  Ewigkeit  (alio  modo)  (ib. 

p.  36). 

Christe,  aller  Welt  Trost  (ib.  p.  37). 
Kyrie,  Gott  heiliger  Geist  (ib.  p.  38). 

3.  Allein  Gott  in  der  Hoh'  sei  Ehr'  (ib.  p.  39). 

4.  Ditto  (ib.  p.  40*) .2 

1  A  Variant  of  the  first  Invention  is  on  p.  342  of  the  volume.     A 
Variant  of  Sinfonia  ix.  is  on  p.  vi.  of  the  Nachtrag. 
1  A  Variant  is  in  E.G.  XL. 


228          JOHANN  SEBASTIAN  BACH 

5.  Allein   Gott   in   der    Hoh'   sei    Ehr'    (Fughetta) 

(N.  bk.  16  p.  41). 

6.  Dies  sind  die  heil'gen  zehn  Gebot'  (ib.  p.  42). 

7.  Ditto  (Fughetta)  (ib.  p.  47). 

8.  Wir  glauben  all'  an  einen  Gott  (»6.  p.  49). 

9.  Ditto  (Fughetta)  (ib.  p.  52). 

10.  Vater  unser  im  Himmelreich  (ib.  p.  53). 

11.  Ditto  (ib.  p.  61).1 

12.  Christ  unser  Herr  zum  Jordan  kam  (ib.  p.  62). 

13.  Ditto  (ib.  p.  67). 

14.  Aus  tiefer  Noth  schrei  ich  zu  dir  (ib.  p.  68). 

15.  Ditto  (ib.  p.  72). 

16.  Jesus  Christus  unser  Heiland  (ib.  p.  74). 

17.  Ditto  (Fugue)  (ib.  p.  80). 

(5)  Clavieriibung,  Part  IV.  :— 

Aria  and  thirty  Variations  (Goldberg)  (P.  bk.  209). 

(6)  Toccata  in  F  sharp  minor  (P.  bk.  210  p.  30). 

Ditto.    C  minor  (P.  bk.  210  p.  40). 
Fugue  (with  Fantasia)  in  A  minor  (P.  bk.  207  p.  16). 

IV.  1854.     *Passionsmusik  nach  deni  Evangelisten  Matthaus. 
Ed.  Julius  Rietz. 

V(l).  1855.    Kirchencantaten.    Dritter  Band.    Ed.  Wilhelm 
Rust. 

No.  *21.  Ich  hatte  viel  Bekummerniss. 

22.  Jesus  nahm  zu  sich  die  Zwolfe. 
*23.  Du  wahrer  Gott  und  Davids  Sohn. 

24.  Ein  ungefarbt  Gemiithe. 
*25.  Es  ist  nichts  Gesundes  an  meinem  Leibe. 

26.  Ach  wie  fliichtig,  ach  wie  nichtig. 
*27.  Wer  weiss,  wie  nahe  mir  mein  Ende. 
*28.  Gottlob  !  nun  geht  das  Jahr  zu  Ende. 

29.  Wir  danken  dir,  Gott,  wir  danken  dir. 
*30.  Freue  dich,  erloste  Schaar. 

V  (2).  1855  [1856].    *Weihnachts-Oratorium.    Ed.  Wilhelm 
Bust. 

1  A  Variant  is  in  P.  bk.  244  p.  109. 


THE  BACHGESELLSCHAFT  EDITIONS     229 

VI.  1856.    *Messe.    H  moll.    Ed  Julius  Eietz. 

Vn.  1857.  Kirchencantaten.  VierterBand.  Ed.  Wilhelm  Rust. 

No.    31.  Der  Himmel  lacht,  die  Erde  jubiliret. 
*32.  Liebster  Jesu,  mein  Verlangen. 

33.  Allein  zu  dir,  Herr  Jesu  Christ. 
*34.  O  ewiges  Feuer,  O  Ursprung  der  Ldebe. 

36.  Geist  und  Seele  wird  verwirrt. 

36.  Schwingt  freudig  euch  empor. 

37.  Wer  da  glaubet  und  getauft  wird. 
*38.  Aus  tiefer  Noth  schrei  ich  zu  dir. 
*39.  Brich  dem  Hungrigen  dein  Brod. 
*40.  Dazu  ist  erschienen  der  Sohn  Gottes. 

VIII.  1858.    Vier  Messen.    F  dur,  *A  dur,  0  moll,  G  dur. 

Ed .  Moritz  Hauptmann . 

IX.  1859  [I860].    Kammermusik.    Erster  Band.    Ed.  Wil- 

helm  Bust. 

Three  Sonatas,  in  B  minor,  E  flat  major,  A  minor  (and 

Variant),  for  Clavier  and  Flute  (P.  bk.  234). 
Suite  in  A  major,  for  Clavier  and  Violin  (P.  bk.  236). 
Six  Sonatas,  in  B  minor,  A  major,  E  major,  C  minor, 

F  minor  (and  Variant),  G  major  (and  Variants),  for 

Clavier  and  Violin  (P.  bks.  232,  233). 
Three  Sonatas,  in  G  major  (or  2  Flutes),  D  major,  G  minor 

for  Clavier  and  Viola  da  Gamba  (P.  bk.  239). 
Sonata  in  G  major,  for  Flute,  Violin,  and  Clavier  (P.  bk.  237). 
Sonata  in  C  major,  for  two  Violins  and  Clavier  (P.  bk.  237). 
Sonata  in  G  minor,  for  Clavier  and  Violin  (not  in  P.).1 

X.  1860.  Kirchencantaten.  FiinfterBand.  Ed.  Wilhelm  Bust. 

No.  *41.  Jesu,  nun  sei  gepreiset. 

42.  Am  Abend  aber  desselbigen  Sabbaths. 
*43.  Gott  fahret  auf  mit  Jauchzen. 
*44.  Sie  werden  euch  in  den  Bann  thun  (c.  1726). 

1  « If  genuine,  the  Sonata  is  a  youthful  work,'  remarks  Schweitzer, 
i.  401  n. 


230          JOHANN  SEBASTIAN  BACH 

45.  Es  1st  dir  gesagt,  Mensch,  was  gut  1st. 

46.  Schauet  doch  und  sehet,  etc. 

47.  Wer  sich  selbst  erhohet,  der  soil  erniedriget  werden- 

48.  Ich  elender  Mensch,  wer  wird  mich  erlosen  ? 

49.  Ich  geh'  und  suche  mit  Verlangen. 
*60.  Nun  1st  das  Heil  und  die  Kraft. 

XI  (1).  1861  [1862].    *Magnificat,  D  dur,  und  vier  Sanctus, 

C  dur,  D  dur,  D  moll,  G  dur.    Ed.  Wilhelm  Eust. 
The  Appendix  contains  four  additional   numbers  which 
are  found  in  one  of  the  two  Autograph  scores  of  the 
Magnificat. 

XI  (2).  1861    [1862].    Kammermusik    fur    Gesang.    Erster 

Band.    Ed.  Wilhelm  Rust. 

Secular  Cantata  :  *Phoebus  und  Pan. 

Do.  Weichet  nur,  betriibte  Schatten. 

Do.  Amore  traditore. 

Do.  Von  der  Vergniigsamkeit,  or,  Ich  bin  in 

mir  vergniigt. 
Do.  Der   zufriedengestellte  Aeolus,  or,  Zer- 

reisset,  zersprenget,  zertrummert  die 

Graft. 

XII  (1) .  1862  [1863] .    *Passionsmusik  nach  dem  Evangelisten 

Johannes.    Ed.  Wilhelm  Rust. 

XII  (2).  1862  [1863].    Kirchencantaten.    Sechster  Band.   Ed. 
Wilhelm  Rust. 

No.  51.  Jauchzet  Gott  in  alien  Landen. 
52.  Falsche  Welt,  dir  trau  ich  nicht. 
*53.  Schlage  doch,  gewiinschte  Stunde. 
*54.  Widerstehe  doch  der  Siinde. 
55.  Ich  armer  Mensch,  ich  Siindenknecht. 
*56.  Ich  will  den  Kreuzstab  gerne  tragen. 

57.  Selig  ist  der  Mann. 

58.  Ach  Gott,  wie  manches  Herzeleid  (1733). 

59.  Wer  mich  liebet,  der  wird  mein  Wort  halten  (1716). 

60.  0  Ewigkeit,  du  Donnerwort  (1732). 


THE  BACHGESELLSCHAFT  EDITIONS      231 

XIII  (1).  1863    [1864].     Trauungs-Cantaten.      Ed.  Wilhelm 
Rust. 

No.  *195.  Dem  Gerechten  muss  das  Licht. 

196.  Der  Herr  denket  an  uns. 

197.  Gott  1st  uns're  Zuversicht. 

Drei  Chorale  zu  Trauungen  :  (1)  Was  Gott  thut, 
(2)  Sei  Lob  und  Ehr',  (3)  Nun  danket  alle  Gott. 

XIII  (2).  1863.    Clavierwerke.    Z welter  Band.    Ed.  Wilhelm 
Rust. 

Six  Great  Suites,  in  A  major,  A  minor,  G  minor,  F  major,  E 

minor,  D  minor,  known  as  the  '  English  Suites  '  (P.  bks. 

203,204). 
Six  Small  Suites,  in  D  minor,  C  minor.  B  minor,  E  flat 

major,    G    major,    E    major,   known    as    the    Trench 

Suites'  (P.  bk.  202). l 

XIII  (3).  1863  [1865].    *Trauer-Ode.    Ed.  Wilhelm  Rust. 

XIV.  1864  [1866].    Clavierwerke.    Dritter  Band.    Das  wohl- 
temperirte  Clavier    (P.   bks.    2790   a-b.).    Ed.  Franz 
Kroll.2 

Erster  Theil,  1722. 
Zweiter  Theil,  1744. 

XV.  1865  [1867].    Orgelwerke.    Erster  Band.    Ed.  Wilhelm 

Rust. 

Six  Sonatas,  in  E  flat  major,  C  minor,  D  minor,  E  minor, 
C  major,  G  major  (N.  bks.  4,  5),  for  2  Claviers  and  Pedal. 
Eighteen  Preludes  and  Fugues  : — 
Prelude  and  Fugue  in  C  major  (N.  bk.  7  p.  74). 
Do.  do.         D  major  (N.  bk.  6  p.  10). 

Do.  do.         E  minor  (N.  bk.  2  p.  44). 

1  Additional  movements  of  the  second,  third,  and  fourth  Suites  are 
in  Appendix  II.  of  B.G.  xxxvi. 

*  The  volume  contains  an  Appendix  of  Variants,  etc.  See  also 
B.G.  XT,V.  (1)  Appendix.  Variants  of  Nos.  1,  3,  6  of  Part  II.  are  in 
Appendix  I.  of  B.G.  xxxvi. 


232          JOHANN  SEBASTIAN  BACH 

Prelude  and  Fugue  in  F  minor  (N.  bk.  6  p.  21). 
Do.  do.         G  minor  (N.  bk.  8  p.  120). 

Do.  do.        A  major  (N.  bk.  3  p.  64). 

Do.  (Fantasia)  do.     C  minor  (N.  bk.  3  p.  76). 
Do.  (Toccata)  D  minor  (N.  bk.  10  p.  196). 

Do.       do.  D  minor  (N.  bk.  9  p.  150). 

Do.  (Toccata)  do.      F  major  (N.  bk.  9  p.  176). 
Do.    do.   the  Great,  G  major  (N.  bk.  8  p.  112). 
Do.  (Fantasia)  do.  do.  G  minor  (N.  bk.  8  p.  127).1 
Do.  do.      do.  A  minor  (N.  bk.  7  p.  42).2 

Do.  do.      do.  B  minor  (N.  bk.  7  p.  52). 

Do.  do.      do.  C  minor  (N.  bk.  7  p.  64). 

Do.  do.      do.  C  major  (N.  bk.  9  p.  156). 

Do.  do.      do.  E  minor  (N.  bk.  8  p.  98). 

Do.  do.     C  major  (N.  bk.  3  p.  70). 

Three  Toccatas  and  Fugues,  in  C  major,  the  '  Great '  (N. 

bk.  9  p.  137). 

Do.  do.  D  minor  (N.  bk.  6  p.  2). 

Do.  do.  E  major  (N.  bk.  8  p.  88, 

as  Prelude  and  Fugue 
in  C  major). 
Passacaglia,  in  0  minor  (N.  bk.  10  p.  214). 


XVI.  1866  [1868].    Kirchencantaten.    Siebenter  Band.    Ed. 
Wilhelm  Rust. 

No.  *61.  Nun  komm,  der  Heiden  Heiland  (1714). 

62.  Nun  komm,  der  Heiden  Heiland  (c.  1740). 

63.  Christen,  atzet  diesen  Tag. 

64.  Sehet,  welch'  eine  Liebe. 

*65.  Sie  werden  aus  Saba  Alle  kommen. 

66.  Erfreut  euch,  ihr  Herzen. 
*67.  Halt'  im  Gedachtniss  Jesum  Christ. 
*68.  Also  hat  Gott  die  Welt  geliebt. 

69.  Lobe  den  Herren,  meine  Seele. 
*70.  Wachet,  betet,  seid  bereit  allezeit. 

1  See  publications  of  the  N.B.G.  xiv.  (2)  no.  6. 
1  See  publications  of  the  N.B.G.  vii.  (3)  no.  3. 


THE  BACHGESELLSCHAFT  EDITIONS     233 

XVII.  1867    [1869].    Kammermusik.    Zweiter    Band.    Ed. 
Wilhelm  Bust. 

Seven  Concertos,  in  D  minor  (and  Variant),1  E  major  (and 
Variant),  D  major  (and  Variant),  A  major  (and  Variant), 
F  minor,  F  major,  G  minor,  for  Clavier  and  Orchestra 
(Strings  ;  two  flutes  added  in  Concerto  vi.  (P.  bks.  248- 
254)  .2 

Triple  Concerto  in  A  minor,  for  Flute,  Violin,  Clavier,  and 
Orchestra  (Strings).  (P.  bk.  255). 

XVIII.  1868  [1870].    Kirchencantaten.    Achter  Band.    Ed. 
Wilhelm  Bust. 

No.  71.  Gott  ist  mein  Konig. 

72.  Alles  nur  nach  Gottes  Willen. 

73.  Herr,  wie  du  willt,  so  schick's  mit  mir. 

74.  Wer  mich  liebet,  der  wird  mein  Wort  halten  ( ?  1 735) . 

75.  Die  Elenden  sollen  essen. 

76.  Die  Himmel  erzahlen  die  Ehre  Gottes. 

77.  Du  sollst  Gott,  deinen  Herren,  lieben. 

78.  Jesu,  der  du  meine  Seele. 

*79.  Gott,  der  Herr,  ist  Sonn'  und  Schild. 
*80.  Ein'  feste  Burg  ist  unser  Gott. 

XIX.  1869  [1871].    Kammermusik.    Dritter  Band.    Ed. 
Wilhelm  Bust. 

Six  Concertos  ('  Brandenburg ')  for  Orchestra  and 
Continue  : — 

No.  I.  in  F  major  (Strings,  3  Ob.,  Fag.,  2  Cor.  (P.  bk.  261).8 
No.  II.  in  F  major  (Strings,  Flute,  Oboe,  Tromba)  (P. 
bk.  262). 

1  For  this  work,  in  its  original  form  as  a  Violin  Concerto,  see  N.B.Q. 
xvm.  (1  and  2). 

1  The  D  major  (No.  3)  and  G  minor  (No.  7)  Concertos  are  identical 
with  the  Violin  Concertos  in  E  major  and  A  minor.  See  E.G.  xxi.  (1). 
No.  6  (F.  major)  is  the  fourth  Brandenburg  Concerto  (in  G.).  See 
E.G.  xix.  no.  4. 

*  In  a  shortened  form  this  work  appears  also  as  a  Sinfonia  in  F  major. 
See  E.G.  xxxi.  (1)  no.  6,  and  N.B.G.  x.  (2). 


234          JOHANN  SEBASTIAN  BACH 

No.  III.  in  G  major  (Strings)  (P.  bk.  263).   [N.B.G.  ix.  (3)]. 
No.  IV.  in  G  major  (Strings  and  2  Flutes)  (P.  bk.  264). 
No.  V.  in  D  major  (Strings,  Flute,  Clavier)  (P.  bk.  265). 
No.  VI.  in  B  flat  major  (2  Violas,  2  Violas  da  Gamba, 
Violoncello,  Contrabasso)  (P.  bk.  266). 

XX  (1).  1870  [1872].    Kirchencantaten.    Neunter  Band.    Ed. 
Wilhelm  Bust. 

No.  *81.  Jesus  schlaft,  was  soil  ich  hoffen  ? 
*82.  Ich  habe  genug. 

83.  Erfreute  Zeit  im  neuen  Bunde. 

84.  Ich  bin  vergniigt  mit  meinem  Gliicke. 

85.  Ich  bin  ein  guter  Hirt.     [Score,  N.B.G.  ix.  (1)]. 

86.  Wahrlich,  wahrlich,  ich  sage  euch. 

87.  Bisher  habt  ihr  nichts  gebeten  in  meinem  Namen. 

88.  Siehe,  ich  will  viel  Fischer  aussenden.     [Score, 
N.B.G.  vii.  (1)]. 

89.  Was  soil  ich  aus  dir  machen,  Ephraim  ? 

90.  Es  reifet  euch  ein  schrecklich  Ende. 

XX  (2).  1870  [1873].    Kammermusik  fur  Gesang.    Zweiter 

Band.    Ed.  Wilhelm  Bust. 

Secular  Cantata  :  Schleicht,  spielende  Wellen. 

Do.  Vereinigte  Zwietracht  der  wechsehiden 

Saiten. 
Do.  Auf,   schmetternde   Tone   der  munt 

Trompeten.    [See  B.G.  xxxiv], 

XXI  (1).  1871  [1874].    Kammermusik.    Vierter  Band. 

Wilhelm  Bust. 

Three  Concertos  for  Violin  and  Orchestra  (Strings)  : — 
No.  I.  in  A  minor  (P.  bk.  229). * 
No.  II.  in  E  major  (P.  bk.  230) .2 

1  Identical  with  the   G  minor  Clavier  Concerto.     See  B.G. 
no.  7,  and  also  B.G.  XLV.  (1),  Appendix,  p.  233. 

*  Identical  with  the  D  major  Clavier  Concerto.     See  B.G.  xvu.  no. 
and  N.B.G.  vra.  (1) 


THE  BACHGESELLSCHAFT  EDITIONS     235 

No.  III.  in  D  minor  (two  Violins)  (P.  bk.  231).1 
Symphonic  movement,  in  D  major,  for  Violin  and  Orchestra 
(Strings,  2  Ob.,  3  Trombe,  Timp.).2 


XXI  (2).  1871  [1874].    Kammermusik.    Fiinfter  Band.    Ed. 
Wilhelm  Bust. 

Three  Concertos  for  two  Claviers  and  Orchestra  (Strings)  : — 
No.  I.  in  C  minor  (P.  bk.  257). 
No.  II.  in  C  major  (P.  bk.  256). 
No.  III.  in  C  minor  (P.  bk.  257b).3 


XXI  (3).  1871  [1874].    *0ster-0ratorium  :  '  Kommt,  eilet  und 
laufet.'    Ed.  Wilhelm  Rust. 

XXII.  1872  [1875].    Kirchencantaten.    Zehnter  Band.    Ed. 
Wilhelm  Rust. 

No.  91.  Gelobet  seist  du,  Jesu  Christ. 

92.  Ich  hab'  in  Gottes  Herz  und  Sinn. 
*93.  Wer  nur  den  lieben  Gott  lasst  walten. 

94.  Was  frag  ich  nach  der  Welt. 

95.  Christus,  der  ist  mein  Leben. 

96.  Herr  Christ,  der  ein'ge  Gottes-Sohn. 

97.  In  alien  nieinen  Thaten. 

98.  Was  Gott  thut,  das  ist  wohlgethan,  in  B  major 

(c.  1732). 

99.  Was  Gott  thut,  das  ist  wohlgethan,  in  G  major 

(c.  1733). 

100.  Was  Gott  thut,  das  ist  wohlgethan,  in  G  major 
(c.  1735). 

1  Identical  with  the  Concerto  for  two  Claviers  in  C  minor.  See 
E.G.  xxi.  (2)  no.  3. 

1  The  movement  is  described  as  being  from  '  einer  unbekannten 
Kirchencantate  '  for  four  voices  and  Orchestra.  The  Autograph  is 
incomplete.  The  movement  is  not  published  elsewhere  than  in  the 
E.G.  edition. 

*  Identical  with  the  Concerto  for  2  Violins,  in  D  minor.  See 
E.G.  xxi.  (1)  no.  3.  Also  pp.  131,  158,  160,  supra. 


236 


JOHANN  SEBASTIAN  BACH 


XXIII.  1873    [1876].    Kirchencantaten.    Elfter   Band.    Ed. 
Wilhelm  Rust. 

No.  101.  Nimm  von  uns,  Herr,  du  treuer  Gott. 

102.  Herr,  deine  Augen  sehen  nach  dem  Glauben. 

103.  Ihr  werdet  weinen  und  heulen. 
*104.  Du  Hirte  Israel,  hore. 

105.  Herr,  gehe  nicht  in's  Gericht. 
*106.  Gottes    Zeit    1st    die    allerbeste    Zeit    (Actus 
tragicus). 

107.  Was  willst  du  dich  betruben. 

108.  Es  1st  euch  gut,  dass  ich  hingehe. 

109.  Ich  glaube,  lieber  Herre. 

110.  Unser  Mund  sei  voll  Lachens. 


XXIV.  1874  [1876].    Kirchencantaten. 
Alfred  Dorffel. 


Zwolfter  Band.    Ed. 


No.  111.  Was  mein  Gott  will,  das  g'scheh'  allzeit. 

*112.  Der  Herr  ist  mein  getreuer  Hirt. 

113.  Herr  Jesu  Christ,  du  hochstes  Gut. 

114.  Ach,  lieben  Christen,  seid  getrost. 
*115  Mache  dich,  mein  Geist,  bereit. 
*116.  Du  Friedefurst,  Herr  Jesu  Christ. 

117.  Sei  Lob  und  Ehr'  dem  hochsten  Gut. 

118.  0  Jesu  Christ,  mein's  Lebens  Licht.1 
*119.  Preise,  Jerusalem,  den  Herrn. 

120.  Gott,  man  lobet  dich  in  der  Stille. 


XXV  (1).  1875  [1878].    Die    Kunst  der  Fuge  :  1749-1750 
Ed.  Wilhelm  Rust. 


Contrapunctus  1-14  ^ 

Four  Canons  I 

Two  Fugues  for  two  Claviers  |i 
Fugue  on  three  subjects         J 


1  Also  in  N.B.O.  XVH.  (1  and  2). 


THE  BACHGESELLSCHAFT  EDITIONS      237 

XXV  (2)  1875  [1878].    Orgelwerke.    Zweiter  Band.    Ed. 
Wilhelm  Bust. 

(1)  Orgelbiichlein  (N.  bk.  15),  containing  Preludes  on  the 

following  melodies  : 1 
Advent — 

1.  Nun  komm  der  Heiden  Heiland. 

2.  Gott,  durch   deine   Giite,  or,  Gottes   Sohn   ist 

kommen. 

3.  Herr  Christ,  der  ein'ge  Gottes-Sohn,  or,  Herr 

Gott,  nun  sei  gepreiset. 

4.  Lob  sei  dem  allmachtigen  Gott. 
Christmas — 

5.  Puer  natus  in  Bethlehem. 

6.  Gelobet  seist  du,  Jesu  Christ. 

7.  Der  Tag,  der  ist  so  freudenreich. 

8.  Vom  Him m el  hoch,  da  komm'  ich  her. 

9.  Vom  Himmel  kam  der  Engel  Schaar. 

10.  In  dulci  jubilo. 

11.  Lobt  Gott,  ihr  Christen,  allzugleich. 

12.  Jesu,  meine  Freude. 

13.  Christum  wir  sollen  loben  schon. 

14.  Wir  Christenleut'. 
New  Year — 

15.  Helft  mir  Gottes  Giite  preisen. 

16.  Das  alte  Jahr  vergangen  ist. 

17.  In  dir  ist  Freude. 

Feast  of  the  Purification  of  the  B.  V.M.— 

18.  Mit  Fried'  und  Freud'  ich  fahr'  dahin. 

19.  Herr  Gott,  nun  schleuss  den  Himmel  auf . 
Passiontide — 

20.  O  Lamm  Gottes,  unschuldig. 

21.  Christe,  du  Lamm  Gottes. 

22.  Christ  us,  der  uns  selig  macht. 

23.  Da  Jesus  an  dem  Kreuze  stund. 

1  For  an  exposition  of  Bach's  design  in  the  '  Orgelbiichlein,'  see  the 
present  writer's  articles  in  'The  Musical  Times'  for  January-March 
1917,  and  '  Bach's  Chorals,'  Part  in.  See  N.B.O.  n.  (1)  for  an  arrange- 
ment of  the  Preludes  for  two  pianofortes. 


238          JOHANN  SEBASTIAN  BACH 

24.  O  Mensch,  bewein'  dein'  Siinde  gross. 

25.  Wir  danken  dir,  Herr  Jesu  Christ. 

26.  Hilf  Gott,  dass  mir's  gelinge. 
Easter— 

27.  Christ  lag  in  Todesbanden. 

28.  Jesus  Christus,  unser  Heiland,  der  den  Tod. 

29.  Christ  ist  erstanden  (three  verses). 

30.  Erstanden  ist  der  heil'ge  Christ. 

31.  Erschienen  ist  der  herrliche  Tag. 

32.  Heut'  triumphiret  Gottes  Sohn. 
Whitsunday — 

33.  Komm,  Gott,  Schopfer,  heiliger  Geist. 
Trinity  Sunday — 

34.  Herr  Jesu  Christ,  dich  zu  uns  wend'. 
35-6.  Liebster  Jesu,  wir  sind  hier  (two  settings). 
The  Catechism — 

37.  Dies  sind  die  heil'gen  zehn  Gebot. 

38.  Vater  unser  im  Himmelreich. 
Penitence  and  Amendment — 

39.  Durch  Adam's  Fall  ist  ganz  verderbt. 

40.  Es  ist  das  Heil  uns  kommen  her. 
Christian  Conduct  and  Experience — 

41.  Ich  ruf  zu  dir,  Herr  Jesu  Christ. 
In  Time  of  Trouble — 

42.  In  dich  hab'  ich  gehoffet,  Herr. 

43.  Wenn  wir  in  hochsten  Nothen  sein. 

44.  Wer  nur  den  lieben  Gott  lasst  walten. 
Death  and  the  Grave — 

45.  Alle  Menschen  miissen  sterben. 
The  Life  Eternal— 

46.  Ach  wie  nichtig,  ach  wie  fliichtig. 

(2)  Six  Chorals  (Schiibler)   (N.  bk.  16)  on  the  folio) 

melodies  : 
Wachet  auf ,  ruft  uns  die  Stimme. 
Wo  soil  ich  fliehen  hin,  or,  Auf  meinen  lieben  Gott. 
Wer  nur  den  lieben  Gott  lasst  walten. 
Meine  Seele  erhebt  den  Herren. 
Ach  bleib  bei  uns,  Herr  Jesu  Christ. 
Kommst  du  nun,  Jesu,  vom  Himmel  herunter. 


THE  BACHGESELLSCHAFT  EDITIONS      239 

(3)  Eighteen  Chorals  (N.  bk.  17)  on  the  following  melodies  : 

I,  2.  Komm,  heiliger  Geist,  Herre  Gott  (two  settings). 

3.  An  Wasserfliissen  Babylon. 

4.  Schmucke  dich,  0  h'ebe  Seele. 

5.  Herr  Jesu  Christ,  dich  zu  uns  wend'. 

6.  0  Lamm  Gottes  unschuldig  (three  verses). 

7.  Nun  danket  Alle  Gott. 

8.  Von  Gott  will  ich  nicht  lassen. 

9,  10,  11.  Nun  komm  der  Heiden  Heiland  (three  settings). 
12,  13,  14.  Allein  Gott  in  der  Hoh'  sei  Ehr'  (three  settings). 
15,  16.  Jesus  Christus,  unser  Heiland,  der  von  uns  (two 
settings). 

17.  Komm,  Gott,  Schopfer,  heiliger  Geist. 

18.  Vor  deinen  Thron  tret'  ich,  or,  Wenn  wir  hi 

hochsten  Nothen  sein. 

(4)  Older  texts  of  the   '  Orgelbiichlein  '   and   '  Eighteen  ' 

Chorals : 

1.  Christus,  der   uns    selig    macht    (Orgelbiichlein 

No.  22)  (P.  bk.  244  p.  108). 

2.  Komm,   Gott,   Schopfer,  heiliger    Geist    (Orgel- 

biichlein  No.  33)  (P.  bk.  246  p.  86A). 

3.  Komm,  heiliger  Geist,  Herre  Gott  (Eighteen  No.  1) 

(P.  bk.  246  p.  86). 

4.  Ditto  (Eighteen  No.  2)  (P.  bk.  246  p.  88). 

5.  An  Wasserflussen  Babylon  (Eighteen  No.  3)  (P. 

bk.  245  p.  103). 

6.  Herr  Jesu  Christ,  dich  zu  uns  wend'  (Eighteen 

No.  5)  (P.  bk.  245  pp.  107,  108  prints  two  of 
the  three  Variants). 
9.  O  Lamm  Gottes  unschuldig  (Eighteen  No.  6) 

(P.  bk.  246  p.  97). 

10.  Von  Gott  will  ich  nicht  lassen  (Eighteen  No.  8) 
(P.  bk.  246  p.  102). 

II.  Nun  komm  der  Heiden  Heiland  (Eighteen  No.  9) 

(P.  bk.  246  p.  92). 
12.  Ditto  (Eighteen  No.  10)  (P.  bk.  246  pp.  93,  94). 

14.  Ditto  (Eighteen  No.  11)  (P.  bk.  246  p.  96). 

15.  Allein  Gott  hi  der  Hoh'  sei  Ehr'  (Eighteen  No.  13) 

(P.  bk.  245  p.  100). 


240          JOHANN  SEBASTIAN  BACH 

16.  Allein  Gott  in  der  Hoh'  sei  Ehr'  (Eighteen  No.  14) 

(P.  bk.  245  p.  97). 

17.  Jesus  Christus  unser  Heiland  (Eighteen  No.  15)  (P. 

bk.  245  p.  112). 

XXVI.  1876    [1878].    Kirchencantaten.    Dreizehnter    Band. 

Ed.  Alfred  Dorffel. 
No.  121.  Christum  wir  sollen  loben  schon. 

122.  Das  neugebor'ne  Kindelein. 

123.  Liebster  Immanuel,  Herzog  der  Frommen. 

124.  Meinen  Jesum  lass'  ich  nicht. 

125.  Mit  Fried'  und  Freud'  ich  fahr'  dahin. 

126.  Erhalt'  uns,  Herr,  bei  deinem  Wort. 

127.  Herr  Jesu  Christ,  wahr'r  Mensch  und  Gott. 

128.  Auf  Christi  Himmelfahrt  allein. 

129.  Gelobet  sei  der  Herr 

130.  Herr  Gott,  dich  loben  alle  wir. 

XXVII  (1).  1877    [18791.    Kammermusik.    Sechster    Band. 

Ed.  Alfred  Dorffel. 
Three  Sonatas  (Suites),  in  G  minor,  A  minor,1  C  major,1  for 

Violin  Solo  (Nos.  1,  3,  5  in  P.  bk.  228). 
Three  Partitas  (Suites,  Sonatas),  in  B  minor,  D  minor,  E 

major,1  for  Violin  Solo  (Nos.  2,  4,  6  in  P.  bk.  228). 
Six  Suites  (Sonatas),  in  G  major,  D  minor,  C  major,  E  flat 
major,  C  minor,  D  major,  for  Violoncello  Solo  (P.  bks. 
238a,  238). 

XXVII  (2) .  1877    [1878].    Thematisches    Verzeichniss    der 

Kirchencantaten  No.  1-120.    Ed.  Alfred  Dorffel. 
[Note. — The  Thematic  Catalogue  is  completed  in  B.G.  XLVI. 
(P.  bk.  270b).] 

XXVIII.  1878  [1881].    Kirchencantaten.    Vierzehnter  Band 

Ed.  Wilhelm  Rust. 
No.  131.  Aus  der  Tiefe  rufe  ich,  Herr,  zu  dir. 

132.  Bereitet  die  Wege,  bereitet  die  Bahn. 

133.  Ich  freue  mich  in  dir. 

1  See  B.G.  XLH.  for  a  Clavier  version. 


T;iE  BACHGESELLSCHAFT  EDITIONS     241 

134.  Ein  Herz,  das  seinen  Jesum  lebend  weiss  [and 

Variant]. 

135.  Ach  Herr,  mich  armen  Sunder. 

136.  Erforsche  mich,  Gott. 

137.  Lobe  den  Herren,  den  machtigen  Konig. 

138.  Warum  betriibst  du  dich,  mein  Herz  ? 

139.  Wohl  dem,  der  sich  auf  seinen  Gott. 
*140.  Wachet  auf,  ruft  uns  die  Stimme.1 

Mit  Gnaden  bekrone  der  Himmel  die  Zeiten  (No. 
134  adapted). 

XXIX.  1879    [1881].     Kammermusik    fiir    Gesang.     Dritter 
Band.    Ed.  Paul  Graf  Waldersee. 

Secular  Cantata  :  Was  mir  behagt,  ist  nur  die  muntre  Jagd. 

Do.  Non  sa  che  sia  dolore. 

Do  0  holder  Tag,  erwunschte  Zeit  (Wedding) . 

Church  Cantata  No.  194  :  Hochsterwiinschtes  Freudenfest. 
Secular  Cantata  :  Schweigt  stille,  plaudert  nicht. 

Do.  Mer  hahn  en  neue  Oberkeet. 

Do.  Mit   Gnaden   bekrone  der  Himmel   die 

Zeiten. 

Do.  O  angenehme  Melodei. 

Instrumental  Piece  for  Violin,  Flute,  and  Continuo.     (Not 
in  P.). 

XXX.  1880    [1884].    Kirchencantaten.    Funfzehnter    Band. 
Ed.  Paul  Graf  Waldersee. 

No.  141.  Das  ist  je  gewisslich  wahr. 

142.  Uns  ist  ein  Kind  geboren. 

143.  Lobe  den  Herren,  nieine  Seele. 

144.  Nimm,  was  dein  ist,  und  gehe  hin. 

145.  So  du  mit  deinem  Munde  bekennest  Jesum. 

146.  Wir  miissen  durch   viel  Triibsal  in  das  Reich 

Gottes  eingehen. 

147.  Herz  und  Mund  und  That  und  Leben. 

148.  Bringet  dem  Herrn  Ehre  seines  Namens. 
*149.  Man  singet  mit  Freuden  vom  Sieg. 

150.  Nach  dir,  Herr,  verlanget  mich. 

1  Boosey  and  Co.  also  publish  an  English  edition. 

Q 


242         JOHANN  SEBASTIAN  BACH 

XXXI  (1) .  1881  [1885]      Orchesterwerke.     Ed.  Alfred  Dorffel. 

Overture  in  C  major  (Strings,  Ob.  1  and  2,  Fagotto)  (P. 

bk.  267). 

Do.         B  minor  (Strings,  Flauto  tra verso)  (P.  bk.  268). 
Do.        D  major  (Strings,  Ob.  1  and  2,  Trombe  1,  2,  3, 

Timpani)  (P.  bk.  269). 
Do.        D  major  (Strings,  Ob.  1,  2,  3,  Fagotto,  Trombe 

1,  2,  3,  Timpani)  (P.  bk.  2068). 

Sinfonia  in  F  major  (Strings,  Ob.  1,  2,  3,  Fagotto,  Corno  da 
caccia  1  and  2).1 


XXXI  (2).  1881    [1885].    Musikalisches    Opfer.    1747.    Ed. 
Alfred  Dorffel. 

Ricercare  a  tre  voci. 

Canon  perpetuus  super  thema  regium. 

Canones  diversi  1-5. 

Fuga  canonica  in  Epidiapente. 

Ricercare  a  sei  voci. 


(P.  bk.  219) 


Two  Canons. 

Sonata  in  C  minor,  for  Flute,  Violin, 

Clavier. 
Canone      perpetuo      (Flute,     Violin, 

Clavier).2 


XXXI  (3).  1881    [1885].    Kammernmsik.    Siebenter    Band- 
Ed.  Paul  Graf  Waldersee. 

Two  Concertos  for  three  Claviers  and  Orchestra  (Strings)  : 
No.  1  in  D  minor  (P.  bk.  258). 3 
No.  2  in  C  major  (P.  bk.  259). 3 

1  This  is  a  shortened  form  of  the  first  Brandenburg  Concerto  (see 
E.G.  xix.  no.  1).     It  consists  of  the  Allegro,  Adagio,  Minuet,  Trio  I. 
and  Trio  II.  of  the  latter,  and  omits  its  second  Allegro  and  Polacca. 

2  The  Appendix  contains  Joh.  Philipp  Kirnberger's  solutions  of  the 
Canons  and  his  expansion  of  the  figured  bass  of  the  Clavier  part  of  the 
Sonata. 

3  See  publications  of  the  N.B.G.  xiv.  (2)  no.  2. 


THE  BACHGESELLSCHAFT  EDITIONS      243 

XXXII.  1882  [1886].    Kirchencantaten.    Sechzehnter  Band. 
Ed.  Ernst  Naumann. 

No.  151.  Siisser  Trost,  mein  Jesus  kommt. 
*152.  Tritt  auf  die  Glaubensbahn. 

153.  Schau',  lieber  Gott,  wie  meine  Feind'. 

154.  Mein  liebster  Jesus  ist  verloren. 

155.  Mein  Gott,  wie  lang',  ach  lange. 

156.  Ich  steh'  mit  einem  Fuss  im  Grabe. 

157.  Ich  lasse  dich  nicht. 

158.  Der  Friede  sei  mit  dir. 

159.  Sehet,  wir  geh'n  hinauf  gen  Jerusalem. 

160.  Ich  weiss,  das  mein  Erloser  lebt. 


XXXIII.  1883  [1887].    Kirchencantaten.    Siebzehnter  Band; 
Ed.  Franz  Wullner. 

No.  161.  Komm,  du  siisse  Todesstunde. 

162.  Ach,  ich  sehe,  jetzt  da  ich  zur  Hochzeit  gehe. 

163.  Nur  Jedem  das  Seine. 

164.  Ihr,  die  ihr  euch  von  Christo  nennet. 

165.  O  heil'ges  Geist-  und  Wasserbad. 

166.  Wo  gehest  du  hin  ? 

*167.  Ihr  Menschen,  riihmet  Gottes  Liebe. 

168.  Thue  Rechnung  !     Donnerwort. 

169.  Gott  soil  allein  mein  Herze  haben. 

170.  Vergniigte  Ruh',  beliebte  Seelenlust. 

XXXIV.  1884  [1887].    Kammermusik  fur  Gesang.    Vierter 
Band.    Ed.  Paul  Graf  Waldersee. 

Secular  Cantata  :  Durchlaucht'ster  Leopold. 

Do.  Schwingt  freudig   euch   empor,  or,  Die 

•    Freude  reget  sich. 
Do.  Hercules     auf     dem    Scheidewege,    or, 

Lasst  uns  sorgen,  lasst  uns  wachen. 
Do.  Tonet,  ihr  Pauken  !     Erschallet,  Trom- 

peten. 
Do.  Preise  dein  Gliicke,  gesegnetes  Sachsen. 


244          JOHANN  SEBASTIAN  BACH 

Secular  Cantata  :  Angenehmes  Wiederau. 

Do.  Auf,   schmetternde   Tone   der   muntern 

Trompeten.1 

XXXV.  1885  [1888].    Kirchencantaten.    Achtzehnter  Band. 
Ed.  Alfred  Dorffel. 

No.  171.  Gott,  wie  dein  Name,  so  1st  auch  dein  Ruhm. 

172.  Erschallet,  ihr  Lieder. 

173.  Erhotes  Fleisch  und  Blut. 

174.  Ich  liebe  den  Hochsten  von  ganzem  Gemuthe. 

175.  Er  rufet  seinen  Schafen  mit  Namen. 

176.  Es  1st  ein  trotzig  und  verzagt  Ding. 

177.  Ich  ruf  zu  dir,  Herr  Jesu  Christ. 

178.  Wo  Gott  der  Herr  nicht  bei  uns  halt. 

179.  Siehe  zu,  dass  deine  Gottesfurcht  nicht  Heuchelei 

sei. 
*180.  Schmucke  dich,  O  liebe  Seele. 

XXXVI.  1886    [1890].    Clavierwerke.    Vierter    Band.    Ed. 

Ernst  Nauru  ann. 

1.  Suite  in  A  minor  (Appendix  version  in  P.  bk.  214). 

2.  Do.      E  flat  major  (P.  bk.  214).2 

3.  Suite  (Overture),  in  F  major  (P.  bk.  215). 

4.  Sonata  in  D  major  (P.  bk.  215). 

5.  Toccata  in  D  major  (P.  bk.  211). 

6.  Do.  D  minor  (P.  bk.  210). 

7.  Do.  E  minor  (P.  bk.  210). 

8.  Do.  G  minor  (P.  bk.  211). 

9.  Do.  G  major  (P.  bk.  215). 

10.  Chromatic  Fantasia  and  Fugue  in  D  minor  (P.  bk.  207). 

11.  Fantasia  and  Fugue  in  A  minor  (P.  bk.  208). 

12.  Prelude  and  Fugue  in  E  flat  major  (not  in  P.). 

13.  Do.  do.        A  minor  (P.  bk.  211). 

14.  Do.  do.        A  minor  (P.  bk.  200). 

15.  Prelude  and  Fughetta  in  D  minor  (P.  bk.  200). 

16.  Do.  do.  E  minor  (P.  bk.  200). 

1  Text  and  music  are  identical  with  the  version  in  E.G.  xx.  (2). 

*  Another  Allemande  to  the  Suite  is  in  E.G.  xxxvi.  217  (also  in  P.). 


THE  BACHGESELLSCHAFT  EDITIONS      245 

17.  Prelude  and  Fughetta  in  F  major  (P.  bk.  214)  .* 

18.  Do.  do.  G  major  (P.  bk.  214).2 

19.  Twelve  Preludes  for  Beginners  (P.  bk.  200). 
20    Six  Little  Preludes  (P.  bk.  200). 

21.  Prelude  in  C  major  (for  Organ,  N.  bk.  12  p.  94). 

22.  Do.      (Fantasia)  in  C  minor  (not  in  P.). 

23.  Do.  do.        in  A  minor  (P.  bk.  215). 

24.  Fantasia  in  G  minor  (P.  bk.  215). 

25.  Do.         C  minor  (P.  bk.  207). 

26.  Do.         (on  a  Rondo),  in  C  minor  (not  in  P.). 

27.  Do.         C  minor  (P.  bk.  212). 

28.  Fughetta  in  C  minor  (two-parts)  (P.  bk.  200). 

29.  Fugue  in  E  minor  (P.  bk.  212). 

30.  Do.  A  major  (P.  bk.  212). 

31.  Do.  C  major  (for  Organ,  N.  bk.  12  p.  100). 

32.  Do.  A  minor  (P.  bk.  212). 

33.  Do.  D  minor  (P.  bk.  212  p.  61). 

34.  Do.  A  major  (P.  bk.  215  p.  52). 

35.  Do.  A  major  (P.  bk.  215  p.  57). 

36.  Do.  B  minor  (Theme  by  Albinoni)  (P.  bk.  214). 

37.  Do.  C  major  (P.  bk.  200  p.  54). 

38.  Do.  C  major  (P.  bk.  200  p.  56). 

39.  Do.  D  minor  (P.  bk.  212  p.  59). 

40.  Capriccio  in  B  flat  major,  sopra  la  lontananza  del  suo 

fratello  dilettissimo  (P.  bk.  208). 

41 .  Do.          E  major,  in  honorem  J.C.  Bach  (P.  bk.  215). 

42.  Aria  variata  in  A  minor  (P.  bk.  215). 

43.  Three  Minuets,  in  G  major,  G  minor,  G  major  (P.  bk. 

215). 

44.  Fragment  of  a  Suite  in  F  minor  (P.  bk.  212). 

45.  Do.  do.        A  major  (P.  bk.  1959,  p.  3). 

46.  Prelude,  Gavotte  II,  and  Minuet  in  E  flat  major.3 

1  The  subject  of  the  Fughetta  is  the  same  as  that  of  Fugue  No.  17 
in  the  second  part  of  the  '  Well -tempered  Clavier.' 

1  The  Prelude  is  No.  11  in  Peters  (E.G.  xxxvi.  220).  The  Fughetta 
is  his  No.  10.  It  is  the  same  subject  as  that  of  Fugue  15  in  the 
second  part  of  the  '  Well-tempered  Clavier.'  An  alternative  Prelude 
(P.  214  p.  78)  is  in  the  Appendix  (p.  220). 

1  They  are  described  as  '  zur  vierten  franzosischen  Suite.'  The 
Prelude  is  in  P.  bk.  1959  p.  67. 


246          JOHANN  SEBASTIAN  BACH 

47.  Two  Minuet-Trios,  in  C  minor  and  B  minor.1 

48.  '  Applicatio  '  in  C  major.2 

49.  Prelude  in  A  minor  (not  in  P.). 

50.  Do.      (unfinished)  in  E  minor  (not  in  P.). 

51.  Fugue  (unfinished)  in  C  minor  (P.  bk.  212  p. 


XXXVII.  1887    [1891].    Kirchencantaten.    Neunzehnter 
Band.    Ed.  Alfred  Dorffel. 

No.  181.  Leichtgesinnte  Flattergeister. 

182.  Himmelskonig,  sei  willkommen. 

183.  Sie  werden  euch  in  den  Bann  thun  (?  1735). 

184.  Erwiinschtes  Freudenlicht. 

185.  Barmherziges  Herze  der  ewigen  Liebe. 

186.  Aergre  dich,  0  Seele,  nicht. 

187.  Es  wartet  Alles  auf  dich. 

188.  Ich  habe  meine  Zuversicht.4 

189.  Meine  Seele  ruhmt  und  preist. 
*190.  Singet  dem  Herrn  ein  neues  Lied. 


XXXVIII.  1888    [1891].    Orgelwerke.    Dritter    Band.    Ed. 

Ernst  Na.iimfl.Tin. 

1.  Prelude  and  Fugue  in  C  minor  (N.  bk.  2  p.  48). 

2.  Do.  do.         G  major  (N.  bk.  7  p.  80). 

3.  Do.  do.         A  minor  (N.  bk.  10  p.  208). 

4.  Eight  Short  Preludes  and  Fugues  in  C  major,  D  minor, 

E  minor,  F  major,  G  major,  G  minor,  A  minor,  B  flat 
major  (N.  bk.  1). 

5.  Fantasia  and  Fugue  in  A  minor  (N.  bk.  12  p.  60). 

6.  Fantasia  con  Imitazione  in  B  minor  (N.  bk.  12  p.  71). 

1  Written  respectively  for  the  second  and  third  French  Suites  (not 
in  P.). 

*  A  fingered  exercise. 

8  The  Appendices  of  the  volume  contain  variant  readings  of  move- 
ments elsewhere  contained  in  it,  and  of  the  first,  third,  and  sixth 
Preludes  and  Fugues  in  the  second  part  of  the  '  Well-tempered 
Clavier.' 

4  See  E.G.  XLV.  (1)  Appendix. 


THE  BACHGESELLSCHAFT  EDITIONS     247 

7.  Fantasia  in  C  major  (N.  bk.  12  p.  92). 

8.  Do.         C  minor  (N.  bk.  3  p.  57). 

9.  Do.         G  major  (N.  bk.  12  p.  75). 

10.  Do.         G  major  (N.  bk.  9  p.  168). 

11.  Prelude  in  C  major  (N.  bk.  12  p.  91). 

12.  Do.        G  major  (N.  bk.  2  p.  30). 

13.  Do.        A  minor  (N.  bk.  10  p.  238). 

14.  Fugue  (Theme  by  Legrenzi)  in  C  minor  (and  Variant) 

(N.  bk.  10  p.  230). 

15.  Do.     in  C  minor  (N.  bk.  12  p.  95). 
16»    Do.         G  major  (N.  bk.  12  p.  86). 

17.  Do.         G  major  (N.  bk.  12  p.  55). 

18.  Do.         G  minor  (N.  bk.  3  p.  84). 

19.  Do.         B  minor  (Theme  by  Corelli)  (N.  bk.  3  p.  60). 

20.  Canzona  in  D  minor  (N.  bk.  2  p.  34). 

21.  Allabreve  in  D  major  (N.  bk.  2  p.  26). 

22.  Pastorale  in  F  major  (N.  bk.  12  p.  102). 

23.  Trio  in  D  minor  (N.  bk.  2  p.  54). 

24.  Four  Concertos  after  Antonio  Vivaldi : 1 

No.  1,  in  G  major  (N.  bk.  11  no.  I).2 

2,  in  A  minor  (N.  bk.  11  no.  2).3 

3,  in  C  major  (N.  bk.  11  no.  3). 

4,  in  C  major  (N.  bk.  11  no.  4). 

25.  Fantasia  (incomplete)  in  C  major  (not  in  N.  or  P.).4 

26.  Fugue  (incomplete)  in  C  minor  (not  in  N.  or  P.). 

27.  Pedal  Exercise  in  G  minor  (not  in  N.  or  P.). 

28.  Fugue  (authenticity  doubtful)  in  C  major  (not  in  N. 

or  P.). 

29.  Do.          do.      in  D  major  (N.  bk.  12  p.  83)  .6 

30.  Do.          do.      in  G  minor  (N.  bk.  2  p.  41). 

31.  Trio  in  C  minor  (N.  bk.  12  p.  108). 

32.  Aria  in  F  major  (N.  bk.  12  p.  112). 

33.  Kleines  harmonisches  Labyrinth  (authenticity  doubtful) 

(P.  bk.  2067  p.  16)  (not  in  N.). 

1  Only  nos.  2  and  3  are  derived  from  Vivaldi. 
1  A  variant  text  is  in  E.G.  XL.U.  282. 

8  Vivaldi's    text    of    the     first    movement     is    in    the    Appendix 
(p.  229).  '  See  E.G.  xtm.  (2)  sec.  1  no.  2. 

*  The  fugal  subject  is  taken  from  the  Allabreve, 


248          JOHANN  SEBASTIAN  BACH 

XXXIX.  1889  [1892].    Motetten,  Chorale  und  Lieder.    Ed. 
Franz  Wiillner. 

(1)  Motet :  *Singet  dem  Herrn  ein  neues  Lied. 

Do.     *Der  Geist  hilft  unsrer  Schwachheit  auf  .* 

Do.      *Jesu,  meine  Freude. 

Do.      *Fiirchte  dich  nicht,  ich  bin  bei  dir. 

Do.      *Komm,  Jesu,  komm. 

Do.     *Lobet  den  Herrn,  alle  Heiden. 

Do.     *Ich   lasse  dich  nicht,  du  segnest  mich  denn 

(by  Johann  Christoph  Bach). 
Do.      *Sei  Lob  und   Preis  mit   Ehren   (the  second 

number,  Nun  lob'  mein'  Seel'  den  Herrn,  of 

Cantata  28). 

(2)  185  Chorals  harmonised  by  Bach,  from  the  collection 

made  by  Carl  Philipp  Emmanuel  Bach  :  2 

1  (1).      Ach  bleib'  bei  uns,  Herr  Jesu  Christ. 

2  (2).      Ach     Gott,     erhor'     mein     Seufzen     und 

Wehklagen. 

3  (3).       Ach  Gott  und  Herr,  wie  gross  und  schwer. 

4  (385).  Ach  lieben  Christen,  seid  getrost  (Wo  Gott 

der  Herr  nicht  bei  uns  halt).3 

5  (388).  War'  Gott  nicht  mit  uns  diese  Zeit  (Wo  Gott 

der  Herr  nicht  bei  uns  halt). 

6  (383).  Wo  Gott  der  Herr  nicht  bei  uns  halt. 

7  (10).    Ach,  was  soil  ich  Sunder  machen. 
8(12).     Allein  Gott  in  der  Hoh'  sei  Ehr. 
9(15).    Allein  zu  dir,  Herr  Jesu  Christ. 

10  (17).     Alle  Menschen  miissen  sterben. 

11  (19).     Alles  ist  an  Gottes  Segen. 

1  Bach's     instrumental     accompaniments     are     in    the    Appendix 
(p.  143). 

2  C.  P.  E.  Bach's  collection  of  his  father's  Choral  settings  was  pub- 
lished  by  Immanuel  Breitkopf  in  four  volumes  between  the  years 
1784-87.    They  are  all  included  in  Breitkopf  and  Haertel's  edition  (1898) 
of  Bach's  '  Choralgesange  '  ;   the  numerals  in  brackets  in  the  above 
list  indicate  the  position  of  each  Choral  in  that  collection.     The  latter 
includes  also   the  simple  four-part  Chorals  from  the  Oratorios  and 
Cantatas  ;  hence  the  numeration  of  that  volume  and  B.G.   xxxix. 
is  not  uniform. 

8  The  bracket  states  the  title  by  which  the  tune  is  better  known. 


THE  BACHGESELLSCHAFT  EDITIONS      249 

12  (20) .  Als  der  gutige  Gott. 

13  (21).  Als  Jesus  Christus  in  der  Nacht. 

14  (22).  Als  vierzig  Tag'  nach  Ostern  war'n. 

15  (23).  An  Wasserflussen  Babylon. 
16(24).  Auf,  auf  mein  Herz. 

17  (30).  Aus  meines  Herzens  Grunde. 

18  (157).  Befiehl  du  deine  Wege  (Herzlich  thut  mich 

verlangen). 

19  (158).  Ditto. 

20  (32).  Befiehl  du  deine  Wege. 

21  (33).  Christ,  der  du  bist  der  helle  Tag. 

22  (34).  Christe,  der  du  bist  Tag  und  Licht. 

23  (35).  Christe,  du  Beistand  deiner  Kreuzgemeinde. 

24  (36).  Christ  ist  erstanden. 

25  (38).  Christ  lag  in  Todesbanden. 

26  (39).  Ditto. 

27  (43).  Christ,  unser  Herr,  zum  Jordan  kam. 

28  (46).  Christus,  der  ist  mein  Leben. 

29  (47).  Ditto. 

30  (48).  Christus,  der  uns  selig  macht. 

31  (51).  Christus  ist  erstanden. 

32  (52).  Da  der  Herr  zu  Tische  sass. 

33  (53).  Danket    dem     Herren,    denn    er    ist    sehr 

freundlieh. 

34  (54).  Dank  sei  Gott  in  der  Hohe. 

35  (55).  Das  alte  Jahr  vergangen  ist. 

36  (56).  Ditto. 

37  (58).  Das  wait'  Gott  Vater  und  Gott  Sohn. 

38  (59).  Das  wait'  mein  Gott,  Vater,  Sohn. 

39  (60).  Den  Vater  dort  oben. 

40  (61).  Der  du  bist  drei  in  Einigkeit. 

41  (62).  Der  Tag,  der  ist  so  freudenreich. 

42  (63).  Des  heil'gen  Geistes  reiche  Gnad'. 

43  (64).  Die  Nacht  ist  kommen. 

44  (65).  Die  Sohn'  hat  sich  mit  ihrem  Glanz. 

45  (66).  Dies  sind  die  heil'gen  zehn  Gebot. 

46  (67).  Dir,  dir,  Jehovah,   will  ich  singen  (Bach's 

melody) . 

47  (70).  Du  grosser  Schmerzensmann. 


250 


JOHANN  SEBASTIAN  BACH 


48  (71).    Du,  O  schones  Weltgebaude. 

49  (74).     Ein'  feste  Burg  1st  unser  Gott. 

50  (75).  Ditto. 

51  (77).     Bins  ist  noth,  ach  Herr,  dies  Eine. 

52  (78).     Erbarm'  dich  mein,  0  Herre  Gott. 

53  (85).     Erstanden  ist  der  heil'ge  Christ. 

54  (262).  Est  ist  gewisslich  an  der  Zeit  (Nun  freut  euch, 

lieben  Christen  g'mein). 

55  (92).     Es  spricht  der  Unweisen  Mund  wohl. 

56  (93).     Es  steh'n  vor  Gottes  Throne. 

57  (94).     Es  wird  schier  der  letzte  Tag  herkommen. 

58  (95).     Es  wolT  uns  Gott  genadig  sein. 
59(96).  Ditto. 

60  (106).  Fur  Freuden  lasst  uns  springen. 

61  (107).  Gelobet  seist  du,  Jesu  Christ. 

62  (111).  Gieb  dich  zufrieden  und   sei  stille   (Bach's 

melody). 

63  (112).  Gott,  der  du  selber  bist  das  Licht. 

64  (113).  Gott  der  Vater  wohn'  uns  bei. 

65  (115).  Gottes  Sohn  ist  kommen. 

66  (116).  Gott  hat  das  Evangelium. 

67  (117).  Gott  lebet  noch. 

68  (118).  Gottlob,  es  geht  nunmehr  zum  Ende. 

69  (119).  Gott  sei  gelobet  und  gebenedeiet. 

70  (120).  Gott  sei  uns  gnadig  und  barmherzig. 

71  (121).  Meine  Seele  erhebet  den  Herrn. 

72  (123a).  Heilig,  Heilig,  Heilig  ! 

73  (129).  Herr  Gott,  dich  loben  alle  wir. 

74  (132).  Fur  deinen  Thron  tret'  ich  hiermit  (Herr 

Gott  dich  loben  alle  wir). 

75  (133).  Herr  Gott  dich  loben  wir. 

76  (136).  Herr,  ich  denk'  an  jene  Zeit. 

77  (137).  Herr,  ich  habe  missgehandelt. 

78  (138).  Ditto. 

79  (139).  Herr  Jesu  Christ,  dich  zu  uns  wend'. 

80  (140).  Herr  Jesu  Christ,  du  hast  bereit't. 

81  (141).  Herr  Jesu  Christ,  du  hochstes  Gut. 

82  (145).  Herr  Jesu  Christ,  mein's  Lebens  Licht. 

83  (146).  Herr  Jesu  Christ,  wahr'  Mensch  und  Gott. 


THE  BACHGESELLSCHAFT  EDITIONS      251 

84  (148).  Herr,  nun  lass  in  Friede. 

85  (149).  Herr,  straf  mich  nicht  in  deinem  Zorn. 

86  (151).  Herr,  wie  du  willst,  so  schick's  mit  mir. 

87  (152).  Herzlich  Heb  hab'  ich  dich,  O  Herr. 

88  (170).  Heut'  ist,  0  Mensch,  ein  grosser  Trauertag. 

89  (171).  Heut'  triumphiret  Gottes  Sohn. 

90  (172).  Hilf,  Gott,  dass  mir's  gelinge. 

91  (173).  Hilf,  Herr  Jesu,  lass  gelingen. 

92  (174).  Ich  bin  ja,  Herr,  in  deiner  Macht   (Bach's 

melody) . 

93  (175).  Ich  dank'  dir,  Gott,  fiir  aU'  Wohlthat. 

94  (176).  Ich  dank'  dir,  lieber  Herre. 

95  (177).  Ditto. 

96  (179).  Ich  dank'  dir  schon  durch  deinen  Sohn. 

97  (180).  Ich  danke  dir,  O  Gott,  in  deinem  Throne. 

98  (182).  Ich  hab'  mein'  Sach'  Gott  heimgestellt. 

99  (185).  Jesu,  der  du  meine  Seele. 

100  (186).  Ditto. 

101  (187).  Ditto. 

102  (189).  Jesu,  der  du  selbst  so  wohl. 

103  (190).  Jesu,  du  mein  liebstes  Leben. 

104  (191).  Jesu,  Jesu,  du  bist  mein  (Bach's  melody). 

105  (195).  Jesu,  meine  Freude. 

106  (363),  Jesu,  meiner  Seelen  Wonne  (Werde  munter, 

mein  Gemiithe). 

107  (364).  Ditto. 

108  (202).  Jesu,  meines  Herzens  Freud'. 

109  (203).  Jesu,  nun  sei  gepreiset. 

110  (206).  Jesus  Christus,  unser  Heiland,  der  von  uns. 

111  (207).  Jesus  Christus,  unser  Heiland,  der  den  Tod. 

112  (208).  Jesus,  meine  Zuversicht. 

113  (210).  Ihr  Gestirn',  ihr  hohlen  Lufte. 

114  (211).  In  alien  meinen  Thaten. 

115  (215).  In  dulci  jubilo. 

116  (217).  Keinen  hat  Gott  verlassen. 

117  (218).  Komm,  Gott,  Schopfer,  heiliger  Geist. 

118  (225).  Kyrie  !  Gott  Vater  in  Ewigkeit. 

119  (226).  Lass,  0  Herr,  dein  Ohr  sich  neigen. 

120  (228).  Liebster  Jesu,  wir  sind  hier. 


252 


JOHANN  SEBASTIAN  BACH 


121  (232).  Lobet  den  Herren,  denn  er  ist  sehr  freundlich. 

122  (233).  Lobt  Gott,  ihr  Christen  allzugleich. 

123  (234).  Ditto. 

124  (237).  Mach's  mit  mir,  Gott,  nach  deiner  Gut.' 

125  (240).  Mem'  Augen  schliess'  ich  jetzt. 

126  (241).  Meinen  Jesum  lass'  ich  nicht,  Jesus. 

127  (242).  Meinen  Jesum  lass'  ich  nicht,  weil. 

128  (248).  Meines  Lebens  letzte  Zeit. 

129  (249).  Mit  Fried'  und  Freud'  ich  fahr'  dahin. 

130  (252).  Mitten  wir  im  Leben  sind. 

131  (253).  Nicht   so    traurig,    nicht    so    sehr    (Bach's 

melody). 

132  (254).  Nun  bitten  wir  den  heiligen  Geist. 

133  (257).  Nun  danket  Alle  Gott. 

134  (260).  Nun  freut  euch,  Gottes  Kinder  all. 

135  (261).  Nun  freut  euch,  lieben  Christen  g'mein. 

136  (269).  Nun  lob',  mein'  Seel',  den  Herren. 

137  (270).  Ditto. 

138  (273).  Nun  preiset  alle  Gottes  Barmherzigkeit. 

139  (298).  Nun  ruhen  alle  Walder  (0  Welt,  ich   muss 

dich  lassen). 

140  (289).  O  Welt,  sieh'  hier  dein  Leben  (O  Welt,  ich 

muss  dich  lassen) . 

141  (290).  Ditto. 

142  (291).  Ditto. 

143  (274).  Nun  sich  der  Tag  geendet  hat. 

144  (275).  O  Ewigkeit,  du  Donnerwort. 

145  (277).  O  Gott,  du  frommer  Gott  (1679  tune). 

146  (282).  Ditto  (1693  tune). 

147  (284).  O    Herzensangst,  O  Bangigkeit  und  Zagen 

(Bach's  melody). 

148  (285).  0  Lamm  Gottes,  unschuldig. 

149  (286).  O  Mensch,  bewein'  dein  Siinde  gross. 

150  (287).  O  Mensch,  schau'  Jesum  Christum  an. 

151  (288).  O  Traurigkeit,  O  Herzeleid. 

152  (299).  O  wie  selig  seid  ihr  doch,  ihr  Frommen  (1649). 

153  (300).  Ditto  (1566). 

154  (301).  O  wir  armen  Sunder. 

155  (303).  Schaut,  ihr  Sunder. 


THE  BACHGESELLSCHAFT  EDITIONS     253 

156  (306).  Seelenbrautigam,  Jesu,  Gottes  Lamm. 

157  (307).  Sei  gegriisset,  Jesu  giitig. 

158  (309).  Singt  dem  Herrn  ein  neues  Lied. 

159  (310).  So  giebst  du  nun,  mein  Jesu,  gute  Nacht. 

160  (311).  Sollt'  ich  meinem  Gott  nicht  singen. 

161  (313).  Uns  ist  ein  Kindlein  heut'  gebor'n. 

162  (314).  Valet  will  ich  dir  geben. 

163  (316).  Vater  unser  im  Himmelreich. 

164  (324).  Von  Gott  will  ich  nicht  lassen. 

165  (325).  Ditto. 

166  (326).  Ditto. 

167  (331).  Warum  betrubst  du  dich,  mein  Hera. 

168  (332).  Ditto. 

169  (334).  Warum  sollt'  ich  mich  denn  gramen. 

170  (336).  Was  betrubst  du  dich,  mein  Herze  (Bach's 

melody) . 

171  (337).  Was  bist  du  doch,  O  Seele,  so  betriibet. 

172  (349).  Was  willst  du  dich,  O  meine  Seele. 

173  (351).  Weltlich  Ehr'  und  zeitlich  Gut. 

174  (352).  Wenn  ich  in  Angst  und  Noth. 

175  (353).  Wenn  mein  Stiindlein  vorhanden  ist. 

176  (354).  Ditto. 

177  (355).  Ditto. 

178  (358).  Wenn  wir  in  hochsten  Nothen  sein. 

179  (359).  Ditto. 

180  (366).  Wer  Gott  vertraut,  hat  wohlgebaut. 

181  (367).  Wer  nur  den  lieben  Gott  lasst  walten. 

182  (374).  Wie  bist  du,  Seele,  in  mir  so  gar  betrubt. 

183  (375).  Wie  schon  leuchtet  der  Morgenstern. 

184  (382).  Wir  glauben  all'  an  einen  Gott,  Schopfer. 

185  (389).  Wo    Gott    zum    Haus    nicht    gibt    sein' 

Gunst. 

(3)  Seventy-five  Chorals  harmonised  by  Bach  : l 
*1  (S).  Ach,  dass  ich  nicht  die  letzte  Stunde. 

2  (S).  Auf,  auf  !  die  rechte  Zeit  ist  hier. 

3  (S).  Auf,  auf  !  mein  Hera,  mit  Freuden. 

4  (S).  Begliickter  Stand  getreuer  Seelen. 

1  The  Chorals  are  taken  from  two  sources,  Anna  Magdalena  Bach's 
'Notenbuch'  (1725;    see  E.G.  xun.  (2)),  and  Sohemelli's  'Musical- 


254          JOHANN  SEBASTIAN  BACH 

*5  (S).  Beschrankt,  ihr  Weisen  dieser  Welt. 

6  (S).  Brich  entzwei,  mein  armes  Herze. 

7  (S).  Brunnquell  aller  Giiter. 

8  (S).  Der  lieben  Sonne  Licht  und  Pracht. 

9  (S).  Der  Tag  1st  bin,  die  Sonne  gehet  nieder. 
10  (S).  Der  Tag  mit  seinem  Lichte. 

*11  (S).  Dich  bet'  ich  an,  mein  hochster  Gott. 

12  (S).  Die  bitt're  Leidenszeit  beginnet. 

13  (S).  Die  gold'ne  Sonne,  voll  Freud'  und  Wonne. 
*14  (S).  Dir,  dir,  Jehova,  will  ich  singen. 

*15  (S).  Eins  ist  noth,  ach  Herr,  dies  Eine. 

16  (S).  Ermuntre  dich,  mein  schwacher  Geist. 

17  (S).  Erwiirgtes  Lamm,  das  die  verwahrten  Siegel. 

18  (S).  Es  glanzet  der  Christen  inwendiges  Leben. 

19  (S).  Es  ist  nun  aus  mit  meinem  Leben. 

20  (S) .  Es  ist  vollbracht !     Vergiss  ja  nicht  dies  Wort. 

21  (S).  Es  kostet  viel,  ein  Christ  zu  sein. 

*22.        Gieb  dich  zufrieden  und  sei  stille  (erste  Com- 
position). 
*23.  Ditto.  (zweite  Composition).1 

24  (S).  Ditto.  (dritte  Composition). 

25  (S).  Gott   lebet   noch  !     Seele,   was   verzagst   du 

doch? 
*26  (S).  Gott,  wie  gross  ist  deine  Giite. 

27  (S).  Herr,  nicht  schricke  deine  Rache. 
*28  (S).  Ich  bin  ja,  Herr,  in  deiner  Macht. 

29  (S).  Ich  freue  mich  in  dir. 
*30  (S).  Ich  halte  treulich  still. 

31  (S).  Ich  lass'  dich  nicht. 

32  (S).  Ich  liebe  Jesum  alle  Stund'. 


isches  Gesang-Buch '  (1736),  of  which  Bach  was  the  musical  editor. 
The  latter  contains  sixty-nine  melodies  (with  figured  bass),  the  former 
seven  :  one  melody  (No.  14)  is  in  both  collections.  The  Schemelli 
tunes  are  indicated  by  an  S  within  a  bracket  after  the  numeral.  One 
melody  (No.  71)  is  indubitably  by  Bach  himself.  It  and  others,  which 
may  be  attributed  to  him  on  good  evidence,  are  marked  by  an  asterisk. 
The  seventy-five  settings  are  published  in  practicable  form  by  the 
N.B.G.  i.  (1)  and  i.  (2). 

1  Nos.  22  and  23  are  the  same  tune. 


THE  BACHGESELLSCHAFT  EDITIONS      255 

*33  (S).  Ich  steh'  an  deiner  Krippen  hier. 
*34  (S).  Jesu,  Jesu,  du  bist  mein. 

35  (S).  Jesu,  deine  Liebeswunden. 

36  (S).  Jesu,  meines  Glaubens  Zier. 

37  (S).  Jesu,  meines  Herzens  Freud'. 

38  (S).  Jesus  1st  das  schonste  Licht. 

39  (S).  Jesus,  unser  Trost  und  Leben. 

40  (S).  Ihr  Gestirn',  ihr  hohlen  Liifte. 

41  (S).  Kein  Stiindlein  geht  dahin. 

*42  (S).  Komm,  siisser  Tod,  komm,  sel'ge  Ruh'  ! 

*43  (S).  Kommt,  Seelen,  dieser  Tag. 

*44  (S).  Kommt  wieder  aus  der  finst'ren  Graft. 

45  (S).  Lasset  uns  mit  Jesu  ziehen. 

46  (S).  Liebes  Herz,  bedenke  doch. 

47  (S).  Liebster  Gott,  wann  werd'  ich  sterben. 
*48  (S).  Liebster  Herr  Jesu,  wo  bleibst  du  so  lange. 

49  (S).  Liebster  Immanuel. 

50  (S).  Mein  Jesu,  dem  die  Seraphinen. 
*51  (S).  Mein  Jesu,  was  fur  Seelen weh. 

52  (S).  Meines  Lebens  letzte  Zeit. 
*53  (S).  Nicht  so  traurig,  nicht  so  sehr. 

54  (S).  Nur  mein  Jesus  ist  mein  Leben. 

55  (S).  O  du  Liebe,  meiner  Liebe. 
56.         O  Ewigkeit,  du  Donnerwort. 

*57  (S).  0  finst're  Nacht,  wann  wirst  du  doch  vergehen. 

58  (S).  O  Jesulein  siiss,  O  Jesulein  mild. 
*59  (S).  O  liebe  Seele,  zieh'  die  Sinnen. 

60  (S).  O  wie  selig  seid  ihr  doch. 
*61.        Schaff's  mit  mir,  Gott,  nach  deinem  Willen. 

62  (S).  Seelenbrautigam,  Jesu,  Gottes  Lamm. 

63  (S).  Seelenweide,  meine  Freude. 

64  (S).  Selig,  wer  an  Jesum  denkt. 

65  (S).  Sei  gegriisset,  Jesu  giitig. 

66  (S).  So  gehest  du  nun,  mein  Jesu,  hin. 

67  (S).  So  giebst  du  nun,  mein  Jesu,  gute  Nacht. 

68  (S).  So  wiinsch'  ich  mir  zu  guter  Letzt. 

69  (S).  Steh'  ich  bei  meinem  Gott. 

70  (S).  Vergiss    mein    nicht,    dass    ich    dein    nicht 


256          JOHANN  SEBASTIAN  BACH 

*71  (S).  Vergiss  mein  nicht,  mein  allerliebster  Gott. 
*72.        Warum  betriibst  du  dich  und  beugest. 

73  (S).  Was  bist  du  doch,  O  Seele,  so  betriibet. 
*74.        Wie  wohl  ist  mir,  O  Freund  der  Seelen. 

75  (S).  Wo  ist  mein  Schaflein,  das  ich  liebe.1 
(4)  Five   Arias   from    Anna   Magdalena    Bach's    '  Noten- 

buch  '  (1725)  :  2 

*1.  So  oft  ich  meine  Tabakspfeife. 

*2.  Bist  bu  bei  mir. 

*3.  Gedenke  doch,  mein  Geist,  zuriicke. 

4.  Gieb  dich  zufrieden  und  sei  stille. 

5.  Willst    du    dein    Herz   mir  schenken   (Aria  di 

Giovannini). 


XL.  1890    [1893].    Orgelwerke.    Vierter    Band.    Ed.    Ernst 
Naumann. 

(1)  Choral  Preludes,  from  Kirnberger's  collection.8 

1.  Wer  nur  den  lieben  Gott  lasst  walten  (N.  bk.  19 

p.  21). 

2.  Ditto  (N.  bk.  19  p.  22). 

3.  Ach  Gott  und  Herr  (N.  bk.  18  p.  1). 

4.  Ditto  (N.  bk.  18  p.  2). 

5.  Wo  soil  ich  fliehen  bin  (N.  bk.  19  p.  32). 

6.  Christ  lag  in  Todesbanden  (Fantasia)  (N.  bk.  18 

p.  16). 

7.  Christum  wir  sollen  loben  schon,  or,  Was  furcht'st 

du,  Feind  Herodes,  sehr  (N.  bk.  18  p.  23). 

8.  Gelobet  seist  du,  Jesu  Christ  (Fughetta)  (N.  bk.  18 

p.  38). 

9.  Herr  Christ,  der  ein'ge  Gottes-Sohn  (Fughetta) 

(N.  bk.  18  p.  43). 

1  For  a  discussion  of  Bach's  original  hymn-tunes  see  the  present 
writer's  '  Bach's  Chorals,'  Part  II.  Introduction,  pp.  67  ff.     Six  more 
of  Bach's  original  hymn-tunes  are  printed  there. 

2  The  first  three  Arias  are  published  by  Novello,  and  also  by  the 
N.B.G.  i.  (1). 

3  In  the  Royal  Library,  Berlin.     Kirnberger  was  a  pupil  of  Bach. 
Seo  section  on  Variants  injra. 


THE  BACHGESELLSCHAFT  EDITIONS     257 

10.  Nun  komra  der  Heiden  Heiland  (Fughetta)  (N. 

bk.  18  p.  83). 

11.  Vom  Himmel  hoch  da  komm  ich  her  (N.  bk.  19 

p.  16). 

12.  Ditto.  (Fughetta)  (N.  bk.  19  p.  14). 

13.  Das  Jesulein  soil  doch  mein  Trost  (Fughetta) 

(N.  bk.  18  p.  24). 

14.  Gottes  Sohn  ist  kommen  (Fughetta)  (N.  bk.  18 

p.  41). 

15.  Lob  sei  dem  allmachtigen  Gott  (Fughetta)  (N. 

bk.  18  p.  73). 

16.  Durch  Adams  Fall  ist  ganz  verderbt  (N.  bk.  18 

p.  28). 

17.  Liebster  Jesu  wir  sind  hier  (N.  bk.  18  p.  72a). 

18.  Ditto.  (N.  bk.  18  p.  72b). 

19.  Ich  hab'  mein'  Sach'  Gott  heimgestellt  (N.  bk.  18 

p.  54).* 

20.  Ditto.  (N.  bk.  18  p.  58A). 

21.  Herr  Jesu  Christ,  dich  zu  uns  wend'  (N.  bk.  18 

p.  50). 

22.  Wir  Christenleut'  (N.  bk.  19  p.  28b).2 

23.  Allein   Gott   in   der  Hoh'   sei   Ehr   (Bicinium) 

(N.  bk.  18  p.  5). 

24.  In  dich  hab'  ich  gehoffet,  Herr  (N.  bk.  18  p.  59). 

25.  Jesu,  meine  Freude  (Fantasia)  (N.  bk.  18  p.  64). 
(2)  Twenty-eight  other  Choral  Preludes  :  3 

1.  Ach  Gott  und  Herr  (Canon)  (N.  bk.  18  p.  3). 

2.  Allein  Gott  in  der  Hoh'  sei  Ehr'  (N.  bk.  18  p.  4). 

3.  Ditto.  (Fuga)  (N.  bk.  18  p.  7). 

4.  Ditto.  (N.  bk.  18  p.  11). 

5.  An  Wasserfliissen  Babylon  (N.  bk.  18  p.  13). 

6.  Christ  lag  in  Todesbanden  (N.  bk.  18  p.  19). 

7.  Der  Tag  der  ist  so  freudenreich  (N.  bk.  18  p.  26). 

8.  Ein'  feste  Burg  ist  unser  Gott  (N.  bk.  18  p.  30). 

9.  Erbarm'  dich  mein,  O  Herre  Gott  (N.  bk.  18  p.  35). 
10.  Gelobet  seist  du,  Jesu  Christ  (N.  bk.  18  p.  37). 

1   Nbvello  omits  the  concluding  four-part  Choral. 

*  The  Prelude  is  also  attributed  to  J.  L.  Krebs,  a  pupil  of  Bach. 

*  See  section  on  Variants  infra. 


258          JOHANN  SEBASTIAN  BACH 

11.  Gelobet  seist  du,  Jesu  Christ  (N.  bk.  18  p.  39). 

12.  Gottes  Sohn  ist  kommen  (N.  bk.  18  p.  42). 

13.  Herr  Gott,  dich  loben  wir  (N.  bk.  18  p.  44). 

14.  Herr  Jesu  Christ,  dich  zu  uns  wend'  (N.  bk.  18 

p.  52). 

15.  Herzlich  thut  mich  verlangen  (N.  bk.  18  p.  53). 

16.  Jesus,  meine  Zuversicht  (N.  bk.  18  p.  69). 

17.  In  dulci  jubilo  (N.  bk.  18  p.  61). 

18.  Liebster  Jesu,  wir  sind  hier  (N.  bk.  18  p.  70). 

19.  Ditto.  (N.  bk.  18  p.  71). 

20.  Lobt  Gott,  ihr  Christen  allzugleich  (N.  bk.  18 

p.  74). 

21 .  Meine  Seele  erhebt  den  Herren  (Magnificat)  (Fuga) 

(N.  bk.  18  p.  75). 

22.  Nun  freut  euch,  lieben  Christen  g'mein,  or,  Es  ist 

gewisslich  an  der  Zeit  (N.  bk.  18  p.  80). 

23.  Valet  will  ich  dir  geben  (Fantasia)  (N.  bk.  19  p.  2). 

24.  Ditto.  (N.  bk.  19  p.  7). 

25.  Vater  unser  im  Himmelreich  (N.  bk.  19  p.  12). 

26.  Vom  Himmel  hoch  da  komm  ich  her  (N.  bk.  19 

p.  19). 

27.  Wie  schon  leuchtet  der  Morgenstem  (N.  bk.  19 

p.  23). 

28.  Wir  glauben  all'  an  einen  Gott  (N.  bk.  19  p.  30). 

(3)  Choral  Variations  : 

1.  Christ,  der  du  bist  der  helle  Tag  (N.  bk.  19  p.  36). 

2.  O  Gott,  du  frommer  Gott  (N.  bk.  19  p.  44). 

3.  Sei  gegrusset,  Jesu  giitig  (N.  bk.  19  p.  55). 

4.  Vom  Himmel  hoch  da  komm  ich  her  (N.  bk.  19 

p.  73). 

(4)  Variant  texts  and  fragments  : 

1.  Variant  of  Kirnberger's  No.  2  (P.  bk.  244  p.  111). 

2.  Do.  No.  3  (not  in  N.  or  P.). 

3.  Ich  hab'  mein'  Sach'  Gott  heimgestellt  (N.  bk.  18 

p.  58s). 

4.  Variant  of  Kirnberger's  No.  6  (P.  bk.  245  p.  104). 

5.  Do.  No.  25  (P.  bk.  245  p.  110). 

6.  Variant  of  No.  10  of  the  Twenty-eight  supra  (not 

in  N.  or  P.), 


THE  BACHGESELLSCHAFT  EDITIONS     259 

7.  Variant  of  No.  17  (not  in  N.  or  P.). 

8.  Do.        No.  20  (not  in  N.  or  P.). 

9.  Do.        No.  26  (not  in  N.  or  P.). 

10.  Do.        No.  22  (P.  bk.  246  p.  91). 

11.  Do.        No.  23  (P.  bk.  246  p.  100). 

12.  Jesu,    meine   Freude    (fragment)    (P.    bk.     244 

p.  112). 

13.  Wie  schon  leuchtet  der  Morgenstern  (fragment) 

(not  in  N.  or  P.). 

(5)  Choral  Preludes  and  Variations  of  faulty  text  or  doubt- 

ful authenticity : 

1.  Ach  Gott  vom  Himmel  sieh'  darein  (P.  bk.  2067 

p.  44). 

2.  Auf  meinen  lieben  Gott  (P.  bk.  2067  p.  39). 

3.  Aus  der  Tiefe  rufe  ich  (P.  bk.  2067  p.  64). 

4.  Christ  ist  erstanden  (not  in  N.  or  P.). 

5.  Christ    lag    in     Todesbanden     (P.     bk.     2067 

p.  56). 

6.  Gott  der  Vater  wohn'  uns  bei  (P.  bk.  245  p.  62) 

(by  J.  G.  Walther).1 

7.  O  Vater,  allmachtiger  Gott  (not  in  N.  or  P.). 

8.  Schmiicke  dich,  O  liebe  Seele  (not  in  N.  or  P.) 

(also  attributed  to  G.  A.  Homilius). 

9.  Vater  unser  im  Himmelreich  (not  in  N.  or  P.) 

(also  attributed  to  G.  Bohm). 

10.  Ditto. 

11.  Wir  glauben  all'  an  einen  Gott,  Schopfer  (P. 

bk.  2067  p.  40)  .2 

12.  Variations  on  Ach,  was  soil  ich  Sunder  machen 

(not  in  N.  or  P.). 

13.  Do.          Allein  Gott  in  der  Hoh'  sei  Ehr' 
(not  in  N.  or  P.). 

(6)  Addendum  to  E.G.  ra.  : 

Allein  Gott  in  der  Hoh'  sei  Ehr'  (an  early  version 
of  N.  bk.  16  p.  40*)  (P.  bk.  245  p.  96). 

1  Variant,  P.  bk.  245  p.  106. 

*  Ernst  Naumann  remarks,  '  Das  Stuck  kann  recht  gut  von  Seb. 
Bach  herruhren.'  The  text  is  complete,  and  the  omission  of  the 
Prelude  from  the  Novello  edition  is  to  be  regretted. 


260          JOHANN  SEBASTIAN  BACH 

XLI.  1891  [1894].     Kirchenmusikwerke.     Erganzungsband. 
Ed.  Alfred  Dorffel. 

Cantata  No.  191  :  Gloria  in  excelsis  (the  B  minor  Mass 
'Gloria'). 

192  :  Nun  danket  Alle  Gott  (incomplete). 

193  :  Ihr  Pforten  zu  Zion  (incomplete). 

Ehre  sei  Gott  in  der  Hohe  (incomplete). 
Wedding  Cantata  :   O  ewiges  Feuer,  O  Ursprung  der  Ldebe 

(incomplete). 
Do.  Herr    Gott,    Beherrscher    aller    Dinge 

(incomplete). 
Sanctus  in  D  major. 

Kyrie  eleison  (Christe,  du  Lamm  Gottes). 
Christe  eleison  (Johann  Ludwig  Bach). 
Jesum  lass'  ich  nicht  von  mir  (the  original  concluding 
Choral  of  the  first  Part  of  the  '  St.  Matthew  Passion ' 
(Breitkopf  and  Haertel's  '  Choralgesange,'  No.  247). 
Four  Cantatas  of  doubtful  authenticity  : 
Gedenke,  Herr,  wie  es  uns  gehet. 
Gott  der  Hoffnung  erfiille  euch. 
Siehe,  es  hat  iiberwunden  der  Lowe. 
Lobt  ihn  mit  Herz  und  Munde. 


XLII.  1892   [1894].      Clavierwerke.      Fiinfter   Band.     Ed. 
Ernst  Nauinann. 

Sonata  in  D  minor  (P.  bk.  213  p.  24). x 
Suite  in  E  major  (not  in  P.).2 
Adagio  in  G  major  (P.  bk.  213  p.  I).3 
Sonata  in  A  minor  (P.  bk.  213  p.  2).4 
Do.       C  major  (P.  bk.  213  p.  16).4 
Fugue  in  B  flat  major  (P.  bk.  1959  p.  75)  .6 

1  A  transcription  of  the  second  Sonata  for  Solo  Violin,  in  A  minor, 
See  E.G.  xxvn.  (1). 

*  A  transcription  of  the  third  Partita,  in  E  major,  for  Solo  Violin. 
See  ibid. 

3  From  the  third  Sonata  for  Solo  Violin,  in  C  major.     See  ibid. 

*  Both    Sonatas    are    arrangements    of    instrumental    Sonatas    in 
J.  A.  Beinken's  '  Hortus  Musicus.'     See  Spitta,  i.  430. 

6  After  a  Sonata  movement  by  J.  A.  Reinken. 


THE  BACHGESELLSCHAFT  EDITIONS     261 

Fugue  in  B  flat  major  (P.  bk.  1959  p.  90). l 

Sixteen  Concertos  after  Antonio  Vivaldi  (P.  bk.  217)  .2 

Fifteen  Compositions  of  probable  authenticity  : 

1.  Prelude  and  Fugue  in  A  minor  (P.  bk.  1959  p.  84). 

2.  Fantasia  and  Fugue  in  D  minor  (P.  bk.  1959  p.  80). 

3.  Fantasia  in  G  minor  (P.  bk.  1959  p.  94). 

4.  Concerto  and  Fugue  in  C  minor  (not  in  P.). 

5.  Fugato  in  E  minor  (P.  bk.  1959  p.  24). 

6.  Fugue  in  E  minor  (P.  bk.  1959  p.  72). 

7.  Do.      G  major  (P.  bk.  1959  p.  68). 

8.  Do.      A  minor  (not  in  P.). 

9.  Do. 

10.  Prelude  in  B  minor  (and  Variant)  (not  in  P.). 

11.  Suite  in  B  flat  major  (P.  bk.  1959  p.  54). 

12.  Andante  in  G  minor  (P.  bk.  1959  p.  63). 

13.  Scherzo  in  D  minor  (and  Variant)  (P.  bk.  1959  p.  62). 

14.  Sarabande  con  Partite  in  C  major  (P.  bk.  1959  p.  26). 

15.  Passacaglia  in  D  minor  (P.  bk.  1959  p.  40). 
Ten  Compositions  of  doubtful  authenticity  : 

1.  Fantasia  in  C  minor  (not  in  P.). 

2.  Toccata  quasi  Fantasia  con  Fuga  in  A  major  (not 

in  P.).3 

3.  Partie  in  A  major  (not  in  P.). 

4.  AUemande  in  C  minor  (not  in  P.). 

5.  Gigue  in  F  minor  (not  in  P.). 

6.  Allemande  and  Courante  in  A  major  (not  in  P.). 

7.  Allemande  in  A  minor  (not  in  P.). 

8.  Fantasia  and  Fughetta  in  B  flat  major  (P.  bk.  212 

p.  58). 

9.  Do.  D  major  (P.  bk.  212  p.  60). 
10.  Fugue  (unfinished)  in  E  minor  (not  in  P.). 

Concerto  in  G  major  by  Antonio  Vivaldi  (original  of  the 
second  Clavier  Concerto  supra)* 

1  After  a  Fugue  by  J.  C.  Erselius.  The  original  is  given  in  Anhang  n. 
of  the  volume. 

1  Only  Nos.  1,  2,  4,  5,  7,  9,  14  are  derived  from  Vivaldi.  The 
others  are  founded  on  Benedetto  Marcello  (No.  3),  Duke  Johann  Ernst 
of  Weimar  (Nos.  11,  16,  and  perhaps  13). 

*  The  Toccata  is  by  Henry  Purcell.     See  Grove,  vol.  iii.  p.  867. 

1  The  volume  also  contains  a  Variant  of  the  first  Organ  Concerto 
(E.G.  xxxvm.). 


262          JOHANN  SEBASTIAN  BACH 

XLIII(l).  1893  [1894].    Kammermusik.    AchterBand.    Ed. 
Paul  Graf  Waldersee. 

Three  Sonatas  for  Flute  and  Clavier  : 

1.  In  C  major  (P.  bk.  235  p.  33). 

2.  In  E  minor  (ib.  p.  39). 

3.  In  E  major  (ib.  p.  51). 

Sonata  in  E  minor,  for  Violin  and  Clavier  (P.  bk.  236). 
Fugue  in  G  minor  for  Violin  and  Clavier  (P.  bk.  236). 
Sonata  in  F  major  for  two  Claviers  (by  Wilhelm  Friedemann 

Bach). 
Concerto  in  A  minor  for  four  Claviers  and  Orchestra  (Strings) 

(P.  bk.  260  p.  3).1 


XLIII  (2) .  1893  [1894] .    Musikstiicke  in  den  Notenbiichen  der 
Anna  Magdalena  Bach.    Ed.  Paul  Graf  Waldersee. 

(1)  The  Notebook  of  the  year  1722  contains  : 

1.  The  French  Suites  (incomplete)  (see  E.G.  xra.  (2)). 

2.  Fantasia  in  C  major  for  the  Organ   (see  E.G. 

xxx vni.  No.  25). 

3.  Air  (unfinished)  in  C  minor  (not  in  P.). 

4.  Choral  Prelude,   '  Jesus,  meine  Zuversicht '   (see 

E.G.  XL.  sec.  2  No.  16). 

5.  Minuet  in  G  major  (see  E.G.  xxxvi.  and  P.  bk.  215 

p.  62). 

(2)  The  Notebook  of  the  year  1725  contains  :  2 

1.  Partita  III.  (A  minor)  from  the  '  Clavieriibung,' 

Part  I.  (see  E.G.  m.). 

2.  Partita  VI.  (E  minor)  from  the  same  (see  E.G.  in.). 

3  (P).  Minuet  in  F  major. 

4  (P).       Do.       G  major. 

5  (P).        Do.        G  minor. 

1  The  Concerto  is  an  arrangement  of  one  by  Antonio  Vivaldi  for 
four  Violins,  the  original  of  which  (in  B  minor)  is  given  in  the  Appendix 
to  the  volume. 

z  Omitting  the  vocal  numbers,  movements  printed  elsewhere,  and 
the  '  Menuet  fait  par  Mons.  Bohm,'  Peters'  Bk.  1959  contains  the 
remaining  twenty  numbers  of  the  Notebook.  They  are  indicated  in 
the  above  index  by  a  P  in  a  bracket. 


THE  BACHGESELLSCHAFT  EDITIONS     263 

6  (P).  Rondeau  in  B  flat  major  (by  Couperin). 

7  (P).  Minuet  in  G  major. 

8  (P).  Polonaise  in  F  major  (two  versions). 

9  (P).  Minuet  in  B  flat  major. 
10  (P).  Polonaise  in  G  minor. 

1 1 .  Choral  Prelude,  '  Wer  nur  den  lieben  Gott  lasst 

walten '  (see  B.G.  XL.,  Kirnberger's  Collec- 
tion, no.  2). 

12.  Choral,  '  Gieb  dich  zufrieden  und  sei  stille ' 

(see  B.G.  xxxix.  sec.  4  no.  4). 

13.  Aria,  '  Gieb  dich  zufrieden  un  sei  stille '  (see 

B.G.  xxxix.  sec.  2  no.  62). 

14  (P).  Minuet  in  A  minor. 

15  (P).        Do.        C  minor. 

16  (P).  March  in  D  major. 

17  (P).  Polonaise  in  G  minor. 

18  (P).  March  in  A  major. 

19  (P).  Polonaise  in  G  minor. 

20.  Aria,  'So  oft  ich  meine   Tabakspfeife '  (see 

B.G.  xxxix.  sec.  4  no.  1). 

21.  Minuet     in     G     major,     '  fait     par     Mons. 

Bohm.' 

22  (P).  Musette  in  D  major. 

23  (P).  March  in  E  flat  major. 

24  (P).  Polonaise  in  D  minor. 

25.  Aria,  '  Bist  du  bei  mir '  (see  B.G.  xxxix.  sec. 

4  no.  2). 

26.  Aria  in  G  major  (the  Aria  of  the  Goldberg 

Variations.    See  B.G.  m.). 

27  (P).  Solo  per  il  Cembalo  hi  E  flat  major. 

28  (P).  Polonaise  in  G  major. 

29.  Prelude  in  C  major  (Prelude  i.  of  the  first  Part 

of  the  'Well-tempered  Clavier.'     See  B.G. 

XIV.). 

30.  Suite  in  D  minor  (the  first  of  the  French  Suites. 

See  B.G.  xm  (2)). 

31.  Suite  in  C  minor  (the  first  three  movements  of 

the  second  French  Suite.    See  B.G.  xm  (2)). 

32.  Choral  (wordless)  in  F.  major. 


264          JOHANN  SEBASTIAN  BACH 

33.  Aria,   '  Warum  betriibst  du  dich '   (see  E.G. 

xxxix.  sec.  3  no.  72). 

34.  Recitative  and  Aria,  '  Ich  habe  genug,'  and 

'  Schlummert   ein,'   for   Basso    (from    Can- 
tata 82,  nos.  2  and  3),  transposed. 

35.  Aria,   '  SchafFs  mit  mir,  Gott,  nach  deinem 

Willen  '  (see  E.G.  xxxix.  sec.  3  no.  61). 
36  (P).  Minuet  in  D  minor. 

37.  Aria,  '  Willst  du  dein  Herz  mir  schenken  '  (di 

Giovannini)  (see  E.G.  xxxix.  sec.  4  no.  5). 

38.  Aria,  No.  34  supra. 

39.  Choral,   '  Dir,  dir  Jehovah,  will  ich  singen ' 

(see  E.G.  xxxix.  sec.  2  no.  46). 

40.  Aria,  '  Wie  wohl  ist  mir,  0  Freund  der  Seelen  ' 

(see  E.G.  xxxix.  sec.  3  no.  74). 

41.  Aria,  'Gedenke  doch,  mem  Geist,  zuriicke ' 

(see  E.G.  xxxix.  sec.  4  no.  3). 

42.  Choral,   '  O   Ewigkeit,  du  Donnerwort '    (see 

E.G.  xxxix.  sec.  2  no.  144). 

XLIV.  1894  [1895].  Handschrift  in  zeitlich  geordneten 
Nachbildungen.  Ed.  Hermann  Kretzschmar.  Con- 
tains facsimiles  of  Bach's  handwriting  and  autograph 

MSS. 

XLV(1).1895  [1897].    Clavierwerke.    Zweiter  Band  (neue 

berichtigte  Ausgabe).    Ed.  Alfred  Dorffel.1 
The  Six  English  Suites  (see  E.G.  xm.  (2)).     (P.  bks.  2794, 

2795.) 

The  Six  French  Suites  (see  E.G.  xra.  (2)).     (P.  bk.  2793.) 
Five  Canons  in  4,  6,  7,  8  parts. 

Prelude  and  Fugue  in  E  flat  major  (P.  bk.  214  p.  40). 
Suite  in  E  minor  (P.  bk.  214  p.  68). 
Suite  in  C  minor  (not  in  P.). 
Sonata  (first  movement)  in  A  minor  (not  in  P.).2 

1  A  separate  Preface  to  the  reprinted  Suites  is  by  Ernst  Naumann. 
It  is  dated  1895. 

2  Perhaps  an  arrangement  of  an  orchestral  piece.     See  Schweitzer, 
i.  342  n. 


THE  BACHGESELLSCHAFT  EDITIONS     265 

Four  Inventions,  in  B  minor,  B  flat  major,  C  minor,  D  major, 

for  Violin  and  Clavier  (P.  bk.  2957). 
Overture    in     G    minor    for    Strings    and    Clavier    (not 

in  P.). 
The    '  Clavier-Biichlein '   of    Wilhelm    Friedemann   Bach 

contains  : 

1.  Applicatio  in  C  major  (see  B.G.  xxxvi.  no.  48). 

2.  Prelude  in  C  major  (the  first  of  the  Twelve  Little 

Preludes)  (see  B.G.  xxxvi.  no.  19). 

3.  Choral  Prelude,   '  Wer  nur  den  lieben  Gott  lasst 

walten'    (see  B.G.   XL.,   Kirnberger's  Collection, 
no.  2). 

4.  Prelude  in  D  minor  (the  fifth  of  the  Little  Preludes) 

(see  B.G.  xxxvi.  no.  19). 

5.  Choral  Prelude,  '  Jesu  meine  Freude  '  (fragment)  (see 

B.G.  XL.  sec.  4  no.  12). 

6.  Allemande  in  G  minor  (not  in  P.). 

7.  Allemande  (fragment)  in  G  minor  (not  in  P.).  • 

8.  Prelude  in  F  major  (the  eighth  of  the  Little  Preludes) 

(see  B.G.  xxxvi.  no.  19). 

9.  Do.        G  minor  (the  eleventh  of  the  Little  Pre- 

ludes) (see  B.G.  xxxvi.  no.  19). 

10.  Do.        F  major  (the  ninth  of  the  Little  Preludes) 

(see  B.G.  xxxvi.  no.  19). 

11.  Minuet  in  G  major  (the  first  of  the  three  Minuets) 

(see  B.G.  xxxvi.  no.  43). 

12.  Do.       G  minor  (the  second  of  the  three  Minuets) 

(see  B.G.  xxxvi.  no.  43). 

13.  Do.       G  major  (the  third  of  the  three  Minuets) 

(see  B.G.  xxxvi.  no.  43). 

14.  Prelude  in  C  major  (the  first  Prelude  of  the  first  Part 

of  the   'Well-tempered   Clavier.'    See 
B.G.  xiv.). 

15.  Do.        C  minor  (the  second  Prelude  of  the  first 

Part  of  the  same.    See  B.G.  xiv.). 

16.  Do .        D  minor  (the  sixth  Prelude  of  the  first  Part 

of  the  same.    See  B.G.  xiv.). 

17.  Do.        D  major  (the  fifth  Prelude  of  the  first 

Part  of  the  same.    See  B.G.  xiv.). 


266          JOHANN  SEBASTIAN  BACH 

18.  Prelude  in  E  minor  (the  tenth  Prelude  of  the  first 

Part  of  the  same.     See  E.G.  xiv.). 

19.  Do.        E  major  (the  ninth  Prelude  of  the  first 

Part  of  the  same.     See  E.G.  xiv.). 

20.  Do.        F  major  (the  eleventh  Prelude  of  the  first 

Part  of  the  same.     See  E.G.  xiv.). 

21.  Do.        C  sharp  major  (the  third  Prelude  of  the 

first  Part  of  the  same.     See  E.G.  xiv.). 

22.  Do.        C  sharp  minor  (the  fourth  Prelude  of  the 

first  Part  of  the  same.     See  E.G.  xiv.). 

23.  Do.        E  flat  minor  (the  eighth  Prelude  of  the 

first  Part  of  the  same.     See  E.G.  xiv.). 

24.  Do.        F  minor  (the  twelfth  Prelude  of  the  first 

Part  of  the  same.    See  E.G.  xiv.), 

25.  Allemande  and  Courante  in  C  major,  by  J.  C.  Richter. 

26.  Prelude  in  C  major  (first  of  the  Little  Preludes.     See 

E.G.  xxxvi.  no.  19). 

27.  Do.        D  major  (fourth  of  the  Little  Preludes. 

See  E.G.  xxxvi.  no.  19). 

28.  Do.        E  minor  (see  E.G.  xxxvi.  no.  50). 

29.  Do.        A  minor  (E.G.  xxxvi.  no.  49). 

30.  Do.        G  minor  (not  in  P.). 

31.  Fugue  in  C  major  (see  E.G.  xxxvi.  no.  38). 

32.  Prelude  in  C  major  (Invention  i.     See  E.G.  in.). 

33.  Do.  D  minor  (Invention  iv.    See  E.G.  m.). 

34.  Do.  E  minor  (Invention  vn.    See  E.G.  in.). 

35.  Do.  F  major  (Invention  vm.    See  E.G.  m.). 

36.  Do.  G  major  (Invention  x.     See  E.G.  m.). 

37.  Do.  A  minor  (Invention  xin.     See  E.G.  m.). 

38.  Do.  B  minor  (Invention  xv.    See  E.G.  in.). 

39.  Do.  B     flat     major     (Invention     xiv.     See 

E.G.  m.). 

40.  Do.  A  major  (Invention  xn.    See  E.G.  m.). 

41.  Do.  G  minor  (Invention  xi.     See  E.G.  in.). 

42.  Do.  F  minor  (Invention  ix.    See  E.G.  in.). 

43.  Do.  E  major  (Invention  vi.     See  E.G.  m.) 

44.  Do.  E  flat  major  (Invention  v.    See  E.G.  m.). 

45.  Do.  D  major  (Invention  in.    See  E.G.  in.). 

46.  Do.  C  minor  (Invention  n.     See  E.G.  m.). 


THE  BACHGESELLSCHAFT  EDITIONS     267 

47.  Suite  in  A  major  (fragment)  (see  B.G.  xxxvi.  no.  45). 

48.  Partita  in  G  minor  by  Steltzel,  including  a  Minuet- 

Trio  by  J.  S.  B.  (Minuet  in  P.  bk.  1959  p.  8). 

49.  Fantasia  in  C  major  (Sinfonia  i.     See  B.G.  m.). 

50.  Do.         D  minor  (Sinfonia  iv.     See  B.G.  in.). 
61.         Do.        E  minor  (Sinfonia  vn.    See  B.G.  in.). 

52.  Do.  F  major  (Sinfonia  vm.    See  B.G.  m.). 

53.  Do.  G  major  (Sinfonia  x.    See  B.G.  m.). 

54.  Do.  A  minor  (Sinfonia  xin.     See  B.G.  m.). 

55.  Do.  B  minor  (Sinfonia  xv.    See  B.G.  m.). 

56.  Do.  B  flat  major  (Sinfonia  xiv.  See  B.G.  in.). 

57.  Do.  A  major  (Sinfonia  xn.    See  B.G.  in.). 

58.  Do.  G  minor  (Sinfonia  xi.    See  B.G.  in.). 

59.  Do.  F  minor  (Sinfonia  EX.    See  B.G.  m.). 

60.  Do.  E  major  (Sinfonia  vi.    See  B.G.  m.). 

61.  Do.  E  flat  major  (Sinfonia  v.     See  B.G.  m.). 

62.  Do.  D  major  (Sinfonia  m.    See  B.G.  m.).1 


XLV  (2) .  1895  [1898].    Passionsmusik  nach  dem  Evangelisten 
Lucas.    Ed.  Alfred  Dorffel. 

Though  the  Score  is  in  Bach's  autograph,  the  work  is 
generally  held  not  to  be  his. 


XLVI.  1896  [1899].2    Schlussband.    Bericht  und  Verzeich- 
nisse.    Ed.  Hermann  Kretzschmar. 

The  volume  contains : — 

Historical  retrospect  of  the  Society  and  its  activities. 

Thematic  Index  to  Cantatas  121-191  (see  B.G.  xxvn(2)), 
unfinished  Cantatas,  Cantatas  of  doubtful  authenticity, 
Christmas  Oratorio,  Easter  Oratorio,  St.  Matthew  Passion, 
St.  John  Passion,  St.  Luke  Passion,  Mass  in  B  minor, 
the  four  Masses  in  F  major,  A  major,  G  minor,  G  major, 

1  The  Appendix  to  the  volume  contains  addenda  to  the  Violin 
Concerto  in  A  minor  (see  B.G.  xxi.  (1))  and  Cantata  188  (see 
B.G.  XXXVH.).  Also  the  Zurich  and  London  texts  of  the  'Well- 
tempered  Clavier  '  (B.G.  xrv.),  with  critical  notes. 

1  The  Preface  is  dated  1899.     The  volume  was  issued  in  1900. 


268          JOHANN  SEBASTIAN  BACH 

the  four  Sanctus  in  C  major,  D  major,  D  minor,  G  major, 
Magnificat  in  D  major,  the  '  Trauer-Ode '  Wedding 
Cantatas  and  Chorals,  Motets,  Secular  Cantatas  (P. 
bk.  270b). 

Alphabetical  Index  of  the  movements  throughout  the  vocal 
works. 

Thematic- Index  to  the  Clavier  music. 
Do.  Chamber  music. 


Do.  Orchestral  music. 


(P.  bk. 
270a). 


Do.  Organ  music. 

Do.  '  Musikalisches  Opfer.' 

Do.  '  Die  Kunst  der  Fuge.' 

Do.  W.  P.  Bach's  and  A.  M.   Bach's 

Notebooks. 

Index  to  the  several  movements  throughout  the  instru- 
mental works. 
Index  of  names  and  places  occurring  in  the  Prefaces  of  the 

B.G.  volumes. 

Bach's  vocal  and  instrumental  works  arranged  (1)  in  the 
order  of  the  yearly  volumes,  (2)  in  groups. 

(B)  PUBLICATIONS  OF  THE  NEW 
BACHGESELLSCHAFT 

1(1).  1901.  Lieder  und  Arien.  Fur  eine  Singstimme  mit 
Pianoforte  (Orgel  oder  Harmonium).  Ed.  Ernst  Nau- 
mann. 

The  seventy-eight  Songs  are  those  contained  in  B.G.  xxxix. 
sees.  3  and  4  (first  three  only)  supra. 

I  (2).  1901.    Lieder  und  Arien.    Fur  vierstimmigen  gemischten 

Chor.    Ed.  Franz  Wiillner. 

The  seventy-five  Songs  are  those  contained  in  I  (1),  omitting 
those  in  sec.  4  of  B.G.  xxxix.  supra. 

1(3).  1901.    Erstes   deutsches   Bach-Fest   in   Berlin   21    bis 

23  Marz  1901.    Festschrift. 
The  frontispiece  is  Carl  Seffner's  bust  of  Bach. 


THE  BACHGESELLSCHAFT  EDITIONS     269 

11(1).  1902.    Orgelbiichlein.    46  kiirzere  Choralbearbeitungen 
fiir  Klavier  zu  vier  Handen.    Ed.  Bernhard  Fr.  Eichter. 

The  original  forty-six  Organ  Preludes,  here  arranged  for 
two  pianofortes  (see  B.G.  xxv  (2),  sec.  1). 


11(2).  1902.      Kirchen-Kantaten.      Klavierauszug.      Erstes 
Heft.    Ed.  Gustav  Schreck  and  Ernst  Naumann. 

Contains  Breitkopf  and  Haertel's  vocal  scores  of — 
Cantata  61  :   Nun  komm,  der  Heiden  Heiland. 
Do.      64  :   Sehet,  welch'  eine  Liebe. 
Do.     28  :  Gottlob  !  nun  geht  das  Jahr  zu  Ende. 
Do.     65  :  Sie  werden  aus  Saba  Alle  kommen. 
Do.       4  :  Christ  lag  in  Todesbanden. 


Ill  (1).  1903.     Kirchen-Kantaten.     Klavierauszug.     Zweites 

(Heft.    Ed.  Ernst  Naumann. 
Contains  Breitkopf  and  Haertel's  vocal  scores  of — 
Cantata  104     Du  Hirte  Israel,  hore. 


Do.  11 

Do.  34 

Do.  45 

Do.  80 


Lobet  Gott  in  seinen  Reichen. 
O  ewiges  Feuer. 
Es  ist  dir  gesagt. 
Ein'  feste  Burg. 


111(2).  1903.    Drei  Sonaten  fiir  Klavier  und  Violine.    Ed. 
Ernst  Naumann. 

Sonata    I.  in  B  minor."! 
Do.      n.  in  A  major.  [  (See  B.G.  ix.) 
Do.     in.  in  E  major.] 

IV  (1).  1904.    Drei  Sonaten  fiir  Klavier  und  Violine.    Ed. 
Ernst  Naumann. 

Sonata  iv.  in  C  minor."! 
Do.      v.  in  F  minor  l(See  B.G.  ix.) 
Do.     vi.  in  G  major.] 


270          JOHANN  SEBASTIAN  BACH 

IV  (2).  1904.    Job.  Seb.  Bacb,  Bildnis  in  Heliogravure. 

A  print  of  the  portrait  discovered  by  Dr.  Fritz  Volbach 
reproduced  at  p.  92  of  tbis  present  volume. 


IV  (3).  1904.    Zweites  deutscbes  Bach-Fest  in  Leipzig  1  bis 
3  Oktober  1904.    Festschrift. 


V(l).  1905.    Fest-Gottesdienst  zum  deutscben  Bacbfeste  in 
der  Thomaskirche  zu  Leipzig.    Ed.  Georg  Rietschel. 

Contains  the  order  of  service  and  music  sung  on  the  occasion. 


V  (2).  1905.  Ausgewahlte  Arien  und  Duette  mit  einem  obli- 
gaten  Instrument  und  Klavier-  oder  Orgelbegleitung. 
I  Abteilung  :  Arien  fur  Sopran.  Ed.  Eusebius  Mandyc- 
zewski. 

1.  Auch  mit  gedampften  schwachen  Stimmen  (Cantata  36  : 

VioUn). 

2.  Die   Armen   will   der   Herr   unarmen    (Cantata    186 : 

Violin). 

3.  Es  halt'  es  mit  der  blinden  Welt  (Cantata  94  :    Oboe 

d'amore). 

4.  Gerechter  Gott,  ach,  rechnest  du  (Cantata  89  :   Oboe). 

5.  Gott  versorget  alles  Leben  (Cantata  187  :  Oboe). 

6.  Hochster,  was  ich  habe,  ist  nur  deine  Gabe  (Cantata  39  : 

Flauto). 

7.  Hort,  ihr  Augen,  auf  zu  weinen  (Cantata  98  :   Oboe). 

8.  Ich   bin   vergniigt  in   meinem   Leiden    (Cantata   58  : 

Violin). 

9.  Ich  ende  behende  mein  irdisches  Leben  (Cantata  57  : 

Violin). 

10.  Ich  nehme  mein  Leiden  mit  Freuden  auf  mich  (Can- 

tata 75  :  Oboe  d'amore). 

11.  Ich  will  auf  den  Herren  schau'n  (Cantata  93  :   Oboe). 

12.  Seufzer,  Thranen,  Kummer,  Noth  (Cantata  21  :   Oboe). 


THE  BACHGESELLSCHAFT  EDITIONS     271 

V(3).  1905.    Bach-Jahrbuch  1904.    Herausgegeben  von  der 
Neuen  Bachgesellschaft. 

In  addition  to  sermons  and  addresses  on  the  occasion  of  the 
second  Bach  Festival  at  Leipzig  in  1904,  the  volume  contains 
the  following  articles  : 

1.  Bach   und  der  evangelische   Gottesdienst.     By   Karl 

Greulich. 

2.  Praktische  Bearbeitungen  Bachscher  Kompositionen. 

By  Max  Seiffert. 

3.  Bachs  Rezitativbehandlung  mit  besonderer    Beriick- 

sichtigung  der  Passionen.     By  Alfred  Heuss. 

4.  Verschwundene   Traditionen   des    Bachzeitalters.     By 

Arnold  Schering. 


VI  (1).  1906.  Ausgewahlte  Arien  und  Duette  mit  einem 
obligaten  Instrument  und  Klavier-  oder  Orgelbegleitung. 
II  Abteilung  :  Arien  fur  Alt.  Ed.  Eusebius  Mandy- 
czewski. 

1.  Ach,  bleibe  doch,  mein  h'ebstes  Leben  (Cantata  11  : 

Violin). 

2.  Ach,  es  bleibt  in  meiner  Liebe  (Cantata  77  :   Tromba). 

3.  Ach  Herr  !    was  ist  ein  Menschenkind  (Cantata  110  : 

Oboe  d'amore) . 

4.  Ach,  unaussprechlich  ist  die  Noth  (Cantata  116  :   Oboe 

d'amore). 

5.  Christen  miissen  auf  der  Erden  (Cantata  44  :   Oboe). 

6.  Christi  Glieder,  ach,  bedenket  (Cantata  132  :   Violin). 

7.  Es  kommt  ein  Tag  (Cantata  136  :   Oboe  d'amore). 

8.  Gelobet  sei  der  Herr,  mein  Gott  (Cantata  129  :    Oboe 

d'amore). 

9.  Ich  will  doch  wohl  Rosen  brechen  (Cantata  86  :  Violin). 

10.  Jesus  macht  mich  geistlich  reich  (Cantata  75 :  Violin). 

11.  Kein   Arzt  ist   ausser  dir   zu   finden    (Cantata    103 : 

Flauto) 

12.  Was  Gott  thut,  das  ist  wohlgethan  (Cantata  100  :  Oboe 

d'amore) . 


272          JOHANN  SEBASTIAN  BACH 

VI  (2).  1906.  Ausgewahlte  Arien  und  Duette  mit  einem 
obligaten  Instrument  und  Klavier-  oder  Orgelbegleitung. 
Ill  Abteilung  :  Duette  fur  Sopran  und  Alt.  Ed. 
Eusebius  Mandyczewski. 

1.  Die  Armuth,  so  Gott  auf  sich  nimmt  (Cantata  91  : 

Violin). 

2.  Wenn  Sorgen  auf  mich  dringen  (Cantata  3  :    Violin  or 

Oboe  d'amore). 

3.  Er  kennt  die  rechten   Freudenstunden   (Cantata   93  : 

Violin). 

VI  (3).  1906.    Bach-Jahrbuch  1905.    Herausgegeben  von  der 

Neuen  Bachgesellschaft. 
Contains  the  following  articles  : 

1 .  Johann  Sebastian  Bachs  Kapelle  zu  Cothen  und  deren 

nachgelassene  Instrumente.     By  Rudolf  Bunge. 

2.  Geleitwort.     By  Arnold  Sobering. 

3.  Die  Wahl  Job.  Seb.  Bachs  zum  Kantor  der  Thomas  - 

schule  i.  J.  1723.     By  Bernhard  FT.  Richter. 

4.  Ein'  feste  Burg  ist  unser  Gott.    Kantata  von  Job.. 

Seb.  Bach.     By  Fritz  Volbach. 

5.  Verzeichnis  der  bisher  erschienenen  Literatur  iiber 

Johann  Sebastian  Bach.    By  Max  Schneider. 

6.  Reviews  of  books. 

VII  (1).  1907.    Kantate  No.  88  :  '  Siehe,  ich  will  viel  Fische 

aussenden.'    Partitur.    Ed.  Max  Seiffert. 

VII  (2).  1907.  Kantate  No.  88  :  '  Siehe,  ich  will  viel  Fische 
aussenden.'  Klavierauszug  mit  Text.  Ed.  Max  Seiffer 
und  Otto  Taubmann. 

VII  (3).  1907.  Bach-Jahrbuch  1906.  Herausgegeben  von  de 
Neuen  Bachgesellschaft. 

Contains  the  following  articles  : 

1.  Erfahrungen  und  Ratschlager  beziiglich  der  Auffuh 
rung  Bachscher  Kirchenkantaten.  By  Wilhelm 
Voigt. 


THE  BACHGESELLSCHAFT  EDITIONS     273 

2.  Uber  die  Schicksale  der  der  Thomasschule  zu  Leipzig 

angehorenden    Kantaten    Job.    Seb.    Bachs.    By 
Bernhard  FT.  Richter. 

3.  Die  grosse  A-moll  Fuge  fiir  Orgel  [Novello  bk.  7  p.  42] 

und  ihre  Vorlage.     By  Reinhardt  Oppel. 

4.  Zur  Kritik  der  Gesamtausgabe  von  Bachs  Werken. 

By  Max  Seiffert. 

5.  Verzeichnis  der  bis  zum  Jahre  1851  gedruckten  (und 

der  geschrieben  im  Handel  gewesenen)  Werke  von 
Johann  Sebastian  Bach.    By  Max  Schneider. 

6.  Ubersicht  der  Auffuhrungen  J.  S.  Bachscher  Werke 

von  Ende  1904  bis  Anfang  1907. 
8.  Notes. 

VII  (4).  1907.    Drittes  deutsches  Bach-Fest  zur  Einweihung 

von  Johann  Sebastian  Bachs  Geburtshaus  als  Bach- 
Museum    [at    Eisenach].    Fest-    und    Frogrammbuch 
[26-28  May  1907]. 
The  frontispiece  is  Carl  Seffner's  bust  of  Bach. 

VIII  (1) .  1908.    Violinkonzert  No.  2  in  E  dur.    Partitur.    Ed. 

Max  Seiffert. 
See  B.G.  xxi  (1)  no.  2. 

VIII  (2) .  1908.    Violinkonzert  No.  2  in  E  dur  fur  Violine  und 
Klavier.    Ed.  Max  Seiffert  and  A.  Saran. 

VIII  (3).  1908.    Bach-Jahrbuch.    4    Jahrgang    1907  :     Im 
Auf trage  der  Neuen  Bachgesellschaf t  herausgegeben  von 
Arnold  Schering. 
In  addition  to  a  sermon  by  Professor  Georg  Rietschel  and 

an  obituary  notice  of  Joseph  Joachim,  the  volume  contains 

the  following  articles : 

1.  Sebastian   Bach  und   Paul   Gerhardt.    By   Wilhelm 

Nelle. 

2.  Stadtpfeifer    und    Alumnen    der    Thomasschule    in 

Leipzig  zu  Bachs  Zeit.     By  Bernhard  Fr.  Richter. 


274          JOHANN  SEBASTIAN  BACH 

3.  Angeblich  von  J.  S.  Bach  komponierte  Oden  von  Chr. 

H.  Hoffmannswaldau.     By  — .  Landmann. 

4.  Die  neuen  deutschen  Ausgaben  der  zwei-  und  drei- 

stimmigen    Inventionen    [Peters    bk.    2792].     By 
Reinhardt  Oppel. 

5.  Thematisches   Verzeichnis  der  musikalischen  Werke 

der  Familie  Bach.    i.  Theil.    By  Max  Schneider. 

6.  Notes  and  Reviews  of  books. 

IX  (1).  1909.  Kantate  No.  85  :  '  Ich  bin  ein  guter  Hirt.' 
Partitur.  Ed.  Max  Seiffert, 

IX  (2).  1909.  Kantate  No.  85  :  '  Ich  bin  ein  guter  Hirt.' 
Klavierauszug  mit  Text.  Ed.  Max  Seiffert  and  Max 
Schneider. 

IX  (3).  1909.    Brandenburgisches  Konzert  No.  3.    Partitur. 

Ed.  Max  Seiffert. 
See  B.G.  xix.  no.  3. 

IX  (4).  1909.  Brandenburgisches  Konzert  No.  3  fur  Klavier 
zu  vier  Handen.  Ed.  Max  Seiffert  and  Max  Schneider. 

IX  (5).  1909.  Viertes  deutsches  Bach-Fest  in  Chemnitz  3-5 
Oktober  1908.  Fest-  und  Programmbuch. 

The  frontispiece  is  a  photograph  of  Carl  Seffner's  statue 
of  Bach,  unveiled  at  Leipzig  May  17,  1908. 

IX  (6).  1909.    Bach-Jahrbuch.    5  Jahrgang  1908  :  Im  Auf- 
trage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Sobering. 
Contains  the  following  articles  : 

1.  Zu  Bachs  Weihnachtsoratorium,  Theil  1  bis  3.    By 

Woldemar  Voigt. 

2.  Uber  Seb.  Bachs  Kantaten  mit  obligator  Pedal.    By 

Bernhard  Fr.  Richter. 

3.  Cembalo  oder  Pianoforte  ?     By  Richard  Buchmayer. 

4.  Bearbeitung  Bachscher  Kantaten.     By  Max  Schneider. 


THE  BACHGESELLSCHAFT  EDITIONS     275 

5.  Nachrichten    iiber    das    Leben    Georg    Bohms    mit 

spezieller  Beriicksichtigung  seiner  Beziehungen  zur 
Bachschen  Familie.    By  Richard  Buchmayer. 

6.  Ein  interessantes  Beispiel  Bachscher  Textauffassung. 

By  Alfred  Heuss. 

7.  Edgar  Tinel  iiber  Seb.  Bach. 

8.  Notes. 


X(l).  1910.  Ausgewahlte  Alien  und  Duette  mit  einem 
obligaten  Instrument  und  Klavier-  oder  Orgelbegleitung. 
IV  Abteilung  :  Arien  fiir  Tenor.  Ed.  Eusebius 
Mandyczewski. 

1.  Dein  Blut,  so  meine  Schuld  durchstreit  (Cantata  78  : 

Flauto). 

2.  Die  Liebe  zieht  mit  sanften  Schritten  (Cantata  36: 

Oboe  d'amore). 

3.  Ergiesse  dich  reichlich,  du  gottliche  Quelle  (Cantata  5  : 

Viola). 

4.  Handle  nicht  nach  deinen  Rechten  mit  uns  (Cantata 

101  :  Violin). 
6.  Ich  will  an  den  Himmel  denken  (Cantata  166  :  Oboe). 

6.  Ja,  tausendmal  Tausend  (Cantata  43  :  Violin). 

7.  Mich  kann  kein  Zweifel  storen  (Cantata  108  :  Violin). 

8.  Seht,  was  die  Liebe  thut !    (Cantata  86  :    Violin  or 

Viola). 

9.  Tausendfaches  Ungliick,  Schrecken,  Triibsal  (Cantata 

143:  Violin). 

10.  Wir  waren  schon  zu  tief  gesunken  (Cantata  9  :  Violin). 

11.  Woferne  du  den  edlen  Frieden  (Cantata  41  :   Violon- 

cello). 

12.  Wo    wird    in    diesem    Jammerthale    (Cantata    114 : 

Flauto). 


X  (2).  1910     Brandenburgisches   Konzert  No     1.    Partitur. 
Ed.  Max  Seiffert. 

See  B.G.  xix.  no.  1. 


276          JOHANN  SEBASTIAN  BACH 

X(3).  1910.    Brandenburgisches  Konzert  No.  1  fur  Klavier 
zu  vier  Handen.    Ed.  Max  Seiffert  and  Max  Schneider. 


X(4).  1910.  Bach-Jahrbuch.  6  Jahrgang  1909  :  Im  Auf- 
trage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Sobering. 

The  volume  contains  the  following  articles  : 

1.  Zum  Linearprinzip  J.  S.  Bachs.    By  Robert  Handke. 

2.  Bachs  Verhaltnis  zur  Klaviermusik.    By  Karl  Nes. 

3.  Zur  Tenorarie  ['  Ich  will  an  den  Himmel  denken '  : 

See  x  (1)  no.  5,  supra]  der  Kantate  166.    By  Rein- 
hard  Oppel. 

4.  Die  Verzierungen  in  den  Werken  von   J.  S.  Bach. 

By  E.  Dannreuther. 

5.  Konnte  Bachs  Gemeinde  bei  seinen  einfachen  Choral- 

satzen  mitsingen  ?     By  Rudolf  Wustmann. 

6.  Buxtehudes  musikalischer  Nachruf  beim  Tode  seines 

Vaters    (mit   einer   Notenbeilage).      By   Reinhard 
Oppel. 

7.  '  Matthauspassion,'  erster  Theil.    By  Rudolf  Wust- 

mann. 

8.  Zu  den  Beschliissen  des  Dessauer  Kirchengesangver- 

einstages.     By  Arnold  Sobering. 

9.  Notes. 


X  (5).  1910.    Funftes  deutscbes  Bach-Pest  in  Duisburg  4  bis 

7  Juni  1910.    Fest-  und  Frogrammbucb. 

Frontispiece,  St.  Thomas'  Church  and  School,  Leipzig,  in 
1723.     Reproduced  at  p.  28  of  the  present  volume. 

XI  (] ) .  1911 .    Ausgewahlte  Alien  und  Duette  mit  einem  obli- 

gaten  Instrument  und  Klavier-  oder  Orgelbegleitung 
V  Abteilung  :  Arien  fur  Bass.  Ed.  Eusebius  Man- 
dyczewski. 

1.  Achzen  und  erbannlich  Weinen  (Cantata  13  :   Violin 
or  Flute) , 


THE  BACHGESELLSCHAFT  EDITIONS     277 

2.  Die  Welt  mit  alien  Konigreichen  (Cantata  59  :  Violin). 

3.  Endlicb,  endlich  wird  mein  Joch  (Cantata  56  :   Oboe). 

4.  Erleucht'    auch    meine    finstre    Sinnen    ('  Christmas 

Oratorio,'  Part  V.  no.  5  :   Oboe  d'amore). 

5.  Gleichwie  die  wilden  Meeres-Wellen   (Cantata   178: 

Violin  or  Viola). 

6.  Greifet  zu,  fasst  das  Heil  (Cantata  174:    Violin  or 

Viola). 

7.  Herr,  nun  lassest  du  deinen  Diener   (Cantata   83  : 

Violin  or  Viola). 

8.  Hier,  in  meines  Vaters  Statte  (Cantata  32  :  Violin). 

9.  Komm,  susses  Kreuz  ('  St.  Matthew  Passion,'  no.  57  : 

Violoncello). 

10.  Lass',  O  Welt,  mich  aus  Verachtung  (Cantata  123  : 

Flauto). 

11.  Tritt   auf   die   Glaubensbahn    (Cantata    152 :     Oboe 

d'amore). 

12.  Wenn  Trost  und  Hiilf  ermangehi  muss  (Cantata  117  : 

Violin). 


XI  (2).  1911.  Bach-Jahrbuch.  7  Jahrgang  1910  :  Im  Auf- 
trage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Schering. 

The  volume  contains  the  following  articles  : 

1.  Die  Diatonik  in  ihrem  Einfluss  auf  die  thematische 

Gestaltung  des  Fugenbaues.     By  Robert  Handke. 

2.  Bach  und  die  franzosische  Klaviermusik.     By  Wanda 

Landowska. 

3.  Sebastian  Bachs  Kirchenkantatentexte.     By  Rudolf 

Wustmann. 

4.  Uber  Joh.  Kasp.  Fred.  Fischers  Einfluss  auf  Job.  Seb. 

Bach.     By  Reinhard  Oppel. 

5.  Hans  Bach,  der  Spielmann.     By  Werner  Wolff heim. 

6.  Vom    Rhythmus    des    evangelischen    Chorals.     By 

Rudolf  Wustmann. 

7.  W.  Friedemann  Bach  und  seine  hallische  Wirksamkeit. 

By  C.  Zehler. 


278          JOHANN  SEBASTIAN  BACH 

8.  Neues  Material  zum  Verzeichnis  der  bisher  erschienenen 

Literatur  iiber  Johann  Sebastian  Bach.     By  Max 
Schneider. 

9.  Reviews  of  books. 


XII  (1).  1912.  Ausgewahlte  Arien  und  Duetto  mit  einem 
obligaten  Instrument  und  Klavier-  oder  Orgelbegleitung. 
VI  Abteilung  :  Arien  fur  Sopran.  2  Heft.  Ed. 
Eusebius  Mandyczewski. 

1.  Bereite  dir,  Jesu,  noch  itzo  die  Balm  (Cantata  147  : 

Violin). 

2.  Eilt,  ihr  Stunden,  koinmt  herbei  (Cantata  30  :  Violin). 

3.  Erfullet,  ihr  himmlischen,  gottlichen  Flammen  (Can- 

tata 1  :   Oboe  da  caccia). 

4.  Geniigsamkeit  ist  ein  Schatz  in  diesem  Leben  (Cantata 

144  :   Oboe  d'amore). 

5.  Hort,  ihr  Volker,  Gottes  Stimme  (Cantata  76  :  Violin). 

6.  Ich  folge  dir  gleichfalls  ('  St.  John  Passion,'  no.  9  : 

Flauto). 

7.  Jesus  soil  mein  erstes  Wort  (Cantata  171  :  Violin). 

8.  Liebster  Jesu,  mein  Verlangen  (Cantata  32  :   Oboe). 

9.  Meinem  Hirten  bleib'  ich  treu  (Cantata  92  :    Oboe 

d'amore). 

10.  Seele,  deine  Spezereien  sollen  nicht  ('  Easter  Oratorio,' 

no.  4 :  Flauto  or  Violin). 

11.  Was  Gott  thut,  das  ist  wohlgethan  (Cantata  100: 

Flauto). 

12.  Wie  zittern  und  wanken  der  Sunder  Gedanken  (Can- 

tata 105:  Oboe). 


XII  (2).  1912.  Bach-Jahrbuch.  8  Jahrgang  1911  :  Im  Auf- 
trage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Sobering.  Mit  2  Bildnissen  und  8  Faksimiles. 

The  volume  contains  the  following  articles  : 

1.  '  Mein  Herze  schwimmt  im  Blut'  [see  infra  xni  (2)]. 
By  Werner  Wolffheim. 


THE  BACHGESELLSCHAFT  EDITIONS     279 

2.  Das  sogenannte  Orgelkonzert  D-moll,  von  Wilhelm 

Friedemann   Bach    [Peters   bk.    3002].     By   Max 
Schneider. 

3.  Bachiana.    By  Werner  Wolffheim. 

4.  Zur  Geschichte  der  Passionsauffiihrungen  in  Leipzig. 

By  Bernhard  Fr.  Richter. 

5.  Tonartensymbolik  zu  Bachs  Zeit.     By  Rudolf  Wust- 

mann. 

6.  Uber  die  Viola  da  Gamba  und  ihre  Verwendung  bei 

Joh.  Seb.  Bach.     By  Christian  Dobereiner. 

7.  Carl  Philipp  Emanuel  Bach  und  Joh.  Gottl.    Im. 

Breitkopf .     By  Hermann  von  Hase. 

8.  Zur  '  Lukaspassion.'     By  Max  Schneider. 

9.  Verzeichnis  der  Sammlung  alter  Musikinstrumente  im 

Bachhaus  zu  Eisenach.  By  G.  Bornemann. 
The  illustrations  are,  portraits  of  W.  Friedemann  Bach 
(aet.  72)  and  Johann  Sebastian  Bach  (son  of  Carl  P.  E.  Bach) ; 
facsimiles  of  Bach's  arrangement  of  the  D  minor  Vivaldi 
Organ  Concerto  (attributed  to  W.  F.  Bach)  and  'Lukas- 
passion,' and  of  a  letter  written  to  J.  G.  I.  Breitkopf  by 
C.  P.  E.  Bach,  dated  28th  February  1786. 


XII  (3).  1912.    Sechstes    Deutsches    Bach-Fest    in    Breslau 
15  bis  17  Juni  1912.    Fest-  und  Programmbuch. 

Frontispiece,  J.  S.  Bach  after  the  oil-painting  by  G.  Hauss- 
mann  in  possession  of  St.  Thomas'  School,  Leipzig  (see  Spitta, 
vol.  i.  frontispiece  and  xvi  (1)  infra). 


XIII  (1).  1913.  Ausgewahlte  Arien  mit  obligaten  Instru- 
menten  und  Klavierbegleitung.  VII  Abteilung  : 
Arien  fur  Sopran.  3  Heft.  Weltliche  Arien.  Ed. 

Eusebius  Mandyczewski. 

1.  Wenn   die   Fruhlingsliifte    streichen    (' Weichet   nur 

betriibte  Schatten  '  :   Violin). 

2.  Sich  iiben  im  Lieben  ('  Weichet  nur  betriibte  Schatten ': 

Oboe). 


280          JOHANN  SEBASTIAN  BACH 

3.  Des  Reich  turns  Glanz  ('  Ich  bin  in  mir  vergniigt '  : 

Violin).1 

4.  Meine  Seele,  sei  vergniigt  ('  Ich  bin  in  mir  vergniigt '  : 

Flauto). 

5.  Angenehmer      Zephryus      ('  Der      zufriedengestellte 

Aeolus '  :  Violin). 

6.  Schweigt,  ihr  Floten  ('  0  holder  Tag  '  :  Flauto). 

7.  Ei !   wie  schmeckt  der  Coffee  siisse  ('  Schweigt  stille, 

plaudert  nicht '  :   Flauto). 

8.  Ruhig  und  in  sich  zufrieden  ('  Ich  bin  in  mir  vergniigt ': 

2  Oboi). 

9.  Schafe  konnen  sicher  weiden   ('  Was  mir  behagt '  : 

2  Flauti). 

10.  Ruhet  hie,  matte  Tone  ('  0  holder  Tag  '  :   Violin  and 

Oboe  d'amore). 

11.  Jagen  ist  die  Lust  der  Gotter  ('Was  mir  behagt': 

2  Horns). 

12.  Hort  doch !  der  sanften  Floten  Chor  ('  Schleicht,  spiel- 

ende  Wellen  '  :  3  Flauti). 

XIII  (2).  1913.  Solo-Kantate  fur  Sopran,  '  Mein  Herze 
schwimmt  im  Blut,'  ausgefunden  und  herausgegeben 
von  C.  A.  Martiensen.  Partitur. 

XIII  (3).  1913.  Solo-Kantate  fiir  Sopran,  'Mein  Herze 
schwimmt  im  Blut/  Klavierauszug  mit  Text  von  Max 
Schneider. 

XIII  (4).  1913.  Bach-Jahrbuch.  9  Jahrgang  1912:  Im 
Auftrage  der  Neuen  Bachgesellschaf t  herausgegeben  von 
Arnold  Schering.  Mit  2  Noten-Anhangen. 

The  volume  contains  the  following  articles  : 

1.  tiber  die  Motetten   Seb.  Bachs.     By  Bernhard  Fr. 

Richter. 

2.  Uber  die  F-dur  Toccata  [N.  bk.  9  p.  176]  von  J.  S. 

Bach.    By  Woldemar  Voigt. 

1  The  original  words  are  '  Die  Schatzbarkeit  der  weiten  Erden.' 


THE  BACHGESELLSCHAFT  EDITIONS     281 

3.  Die  Mollersche  Handschrift.     Ein  unbekanntes  Gegen- 

stiick  zum  Andreas-Bach-Buche  (mil  einem  Noten- 
anhange).     By  Werner  Wolff heim. 

4.  Bachs  Bearbeitungen  und  Umarbeitungen  eigener  und 

fremder  Werke.     By  Karl  Grunsky. 

5.  Uber   die    Kirchenkantaten    vorbachischer   Thomas  - 

kantoren  (mit  einem  Notenanhange).     By  Arnold 
Sobering. 

6.  Beitrage  zur  Bachkritik.     By  Arnold  Schering. 

7.  Auffiihrungen  von  Job.  Seb.  Bachs  Kompositionen. 

By  Th.  Biebrich. 

8.  Notes. 

XIV  (1) .  1914.1  Job.  Seb.  Bachs  Kantatentexte.  Im  Auftrage 
der  Neuen  Bachgesellschaft  herausgegeben  von  Rudolf 
Wustmann. 

Contains  the  literary  texts  of  the  Church  Cantatas,  with 
critical  notes. 

XIV  (2).  1914.  Bach-Jahrbuch.  10  Jahrgang  1913.  Im 
Auftrage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Schering.  Mit  einem  Titelbilde  und  einer 
Beilage. 

The  volume  contains  the  following  articles  : 

1.  Studien  zu  J.  S.  Bachs  Klavierkonzerten.    By  Adolf 

Aber. 

2.  Uber  Job.  Seb.  Bachs  Konzerte  fur  drei  Klaviere.     By 

Hans  Boas. 

3.  Die  Kantata  Nr.  150, '  Nach  dir,  Herr,  verlanget  mich.' 

By  Arnold  Schering. 

4.  Uber  die  C-dur-Fuge  aus  dem  I.  Theil  des  '  Wohltem- 

perierten  Klaviers.'     By  Wanda  Landowska. 

5.  Die   Varianten   der  grossen   G-moll-Fuge   fiir   Orgel 

[Novello  bk.  8  p.  127].     By  Hermann  Keller. 

6.  Ein  Bachkonzert  in  Kamenz.     By  Hermann  Kretz- 

schmar. 

1  The  title-page  is  dated   1913  and  the  Preface  '  Im  Advent  auf 
1914.' 


282          JOHANN  SEBASTIAN  BACH 

7.  Breitkopfsche    Textdrucke    zu    Leipziger   Musikauf- 

fiihrungen  zu  Bachs  Zeiten.     By  Hermann  von  Hase. 

8.  J.  S.  Bachs  Aria,  '  Erbauliche  Gedanken  eines  Tabak- 

rauchers.'     By  Alfred  Heuss.1 

9.  Johann  Seb.  Bachs  und  Christoph  Graupners  Kom- 

positionen  zur  Bewerbung  um  das  Thomaskantorat 
in  Leipzig  1722-23.     By  Bernhard  Fr.  Richter. 
10.  Register  zu  den  ersten   10  Jahrgangen  des   Bach- 

Jahrbuchs  1904-13.    By  Arnold  Sobering. 
The  frontispiece  is  a  portrait  of  Bach,  about  thirty -five 
years  old,  after  the  original  in  the  Eisenach  Museum  by  Job. 
Jak.  Ihle.     See  frontispiece  of  this  volume. 


XIV  (3) .  1914.    Fest-  und  Programmbuch  zum  7  Deutschen 

Bachfest  der  Neuen  Bachgesellschaft.  Wien.  9  bis 
11  May  1914. 

The  frontispiece  is  a  picture  of  St.  Thomas'  Church  and 
School  in  1723  (see  p.  28  supra). 

XV  (1).  1914.    Ausgewahlte  Arien  und   Duette  mit  einem 

obligaten  Instrument  und  Klavier-  Oder  Orgelbegleitung. 
VIII  Abteilung  :  Arien  fur  Alt.  2  Heft.  Ed.  Eusebius 
Mandyczewski. 

1.  Bethorte  Welt  (Cantata  94  :  Flauto). 

2.  Ein  ungefarbt  Gemiite  (Cantata  24  :  Violin  or  Viola). 

3.  Ermuntert  euch  (Cantata  176  :  Oboe). 

4.  Gott  ist  unser  Sonn'  und  Schild  (Cantata  79  :    Oboe 

or  Flauto) . 

5.  In   Jesu   Demuth    (Cantata   151 :    Oboe  d'amore  or 

Violin). 

6.  Jesus  ist  ein  guter  Hirt  (Cantata  85  :  Violin  or  Violon- 

cello). 

7.  Kreuz  und  Krone  (Cantata  12  :  Oboe). 

8.  Schame  dich,  O  Seele,  nicht  (Cantata  147  :    Oboe 

d'amore). 

i  The  Aria  is  no.  20  of  A.  M.  Bach's  '  Notenbuch  '  for  1725.     See 
E.G.  XLIII.  (2)  no.  20. 


THE  BACHGESELLSCHAFT  EDITIONS     283 

9.  Von  der  Welt  verlang'  ich  nichts  (Cantata  64  :   Oboe 
d'amore). 

10.  Weh  der  Seele  (Cantata  102  :  Oboe). 

11.  Willkommen !     will    ich    sagen    (Cantata    27:     Cor 

Anglais). 

12.  Zum  reinen  Wasser  (Cantata  112  :   Oboe  d'amore). 


XV  (2).  1915.    Bach-Jahrbuch.    11    Jahrgang    1914:     Im 

Auftrage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Sobering  (Leipzig).  Mit  einem  Titelbilde  und 
einer  Bilderbeilage. 

The  volume  contains  the  following  articles  : 

1.  Neues  iiber  das  Bachbildnis  der  Thomasschule  und 

andere    Bildnisse    Johann    Sebastian    Bachs.    By 
Albrecht  Kurzwelly. 

2.  Zur  Geschichte  der  Bachbewegung.    Bericht  iiber  eine 

bisher  unbekannte  friihe  Auffiihrung  der  Matthaus- 
passion.     By  Karl  Anton. 

3.  Johann  Christoph  Friedrich  Bach.     By  Georg  Schune- 

mann. 

4.  Die  Wiederbelebung  der  Kurrende  in  Eisenach.     By 

W.  Nicolai. 

5.  Auffuhrungen  von  Job.  Seb.  Bachs  Kompositionen  in 

der  Zeit  vom  Oktober  1912  bis  Juli  1914.     By  Th. 
Biebrich. 

6.  Bachauffiihrungen   im    ersten  Jahre   des    deutschen 

Krieges.     By  Th.  Biebrich. 

7.  Mitgliederversammlung  der  Neuen  Bachgesellschaft. 

Montag,  den  11  Mai  1914. 

8.  Reviews. 

The  frontispiece  is  a  picture  of  Bach  by  Daniel  Greiner. 

XVI  (1) .  1916.    Das  Bachbildnis  der  Thomasschule  zu  Leipzig, 

nach  seiner  Wiederherstellung  im  Jahre  1913.  Gemalt 
von  E.  G.  Haussmann  1746. 

A  print  of   the   renovated   picture   is   at   p.  48  of   this 
volume. 


284          JOHANN  SEBASTIAN  BACH 

XVI  (2).  1916.  Bach-Genealogie  mit  zwei  Briefen  von  Carl 
Philipp  Emanuel  Bach.  Herausgegeben  von  Professor 
Max  Schneider  in  Breslau.1 


XVI  (3).  1916.     Bach-Jahrbuch.     12    Jahrgang    1915.     Im 

Auftrage  der  Neuen  Bachgesellschaf t  herausgegeben  von 
Arnold  Sobering  (Leipzig).  Mit  dem  Bildnisse  J.  S. 
Bachs  nach  der  Gedenkbiiste  in  der  Walhalla. 

The  volume  contains  the  following  articles  : 

1.  Johann  Sebastian  Bach  im  Gottesdienst  der  Thomaner. 

By  Bernhard  Friedrich  Richter. 

2.  Karl  Philipp  Emanuel  Bach  und  der  Dresdner  Kreuz- 

kantor  Gottfried  August  Homilius  im  Musikleben 
ihrer  Zeit.  Ein  Beitrag  zur  Geschichte  der  Stil- 
wandlung  des  18  Jahrhunderts.  By  Rudolf  Steglich. 

3.  Eine  Umdichtung  des   '  Zufriedengestellten  Aeolus ' 

(Mit  einem  Anhang  iiber  die  Kantata  '  Schleicht, 
spielende  Wellen  ').  By  Woldemar  Voigt. 

4.  Eine  alte,  unbekannte  Skizze  von  Sebastian  Bachs 

Leben.     By  Arthur  Priifer. 

5.  Bachauffiihrungen  im  zweiten  Jahre  des  deutschen 

Krieges.     By  Th.  Biebrich. 

6.  Reviews. 

The  frontispiece  is  a  photograph  of  Professor  F.  Behn's 
bust  of  Bach  in  the  Walhalla. 

XVII  (1).  1916.    Motette    '0   Jesu    Christ,  mein's    Lebens 
Licht.'    Nach    Bachs    Handschrift   zum    ersten    Male 
herausgegeben    von    Max    Schneider.    Partitur. 

[See  B.G.  xxrv.] 

XVII  (2).  1916.    Motette   '0    Jesu    Christ,    mein's    Lebens 
Licht.'    Klavierauszug  mit  Text  von  Max  Schneider. 

[See  B.G.  xxiv.] 

1  This    publication,  announced   for  1916,  appears  under  a  different 
title  as  the  third  issue  for  1917.     See  in/ro,  xvii.  (3). 


THE  BACHGESELLSCHAFT  EDITIONS     285 

XVII  (3).  1917.  Bach-Urkunden.  Ursprung  der  musikal- 
isch-Bachischen  Familie.  Nachrichten  liber  Johann 
Sebastian  Bach  von  Carl  Philipp  Emanuel  Bach. 
Herausgegeben  von  Max  Schneider. 

The  volume  contains  a  facsimile  of  the  Bach  Genealogy 
compiled  by  Joh.  Seb.  Bach  and  formerly  in  Carl  Philipp 
Emanuel's  possession,  and  two  letters  from  the  latter  to 
J.  N.  Forkel. 

XVII  (4).  1917.    Bach-Jahrbuch.    13    Jahrgang    1916.    Im 
Auftrage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Sobering  (Leipzig) . 

The  volume  contains  the  following  articles  : 

1.  Die  F.-Trompete  im  2   Brandenburgischen   Konzert 

von  Joh.  Seb.  Bach.     By  Richard  Hofmann. 

2.  Zur  Frage  der  Ausfiihrung  der  Ornamente  bei  Bach. 

Zahlzeit  oder  Notenwert  ?  By  Hans  Joachim 
Moser. 

3.  Friedrich  Bachs  Brief wechsel  mit  Gerstenberg  und 

Breitkopf .     By  Georg  Schiinemann. 

4.  Bachauffuhrurgen   im   dritten   Jahre  des   deutschen 

Krieges.     By  Th.  Biebrich. 

5.  Literarische    Beigabe :     '  Der    Thomaskantor.'      Ein 

Gemiith-erfreuend  Spiel  von  deme  Herren  Cantori 
Sebastian  Bachen,  vorgestellt  in  zween  Auffziigen 
durch  Bernhard  Christoph  Breitkopfen  seel.  Erben : 
Breitkopf  und  Hartel  1917.  By  Arnold  Sobering. 

XVIII  (1) .  1917.    Konzert  in  D  moll  nach  der  urspriinglichen 

Fassung  fur  Violine  wiederhergestellt  von  Robert  Reitz. 

Partitur. 

[See  B.G.  xvn.] 

XVIII  (2) .  1917.  Konzert  in  D  moll  nach  der  ursprunglichen 
Fassung  fur  Violine  wiederhergestellt  von  Robert  Reitz. 

Ausgabe  fur  Violine  und  Klavier. 

[See  B.G.  xvn.] 


286          JOHANN  SEBASTIAN  BACH 

XVIII  (3).  1918.    Bach-Jahrbuch.     14  Jahrgang  1917  :    Im 

Auftrage  der  Neuen  Bachgesellschaft  herausgegeben  von 
Arnold  Sobering  (Leipzig),    Mit  einem  Bildnis. 

The  volume  contains  the  following  articles  : 

1.  Gustav  Schreck  [d.  22  Jan.  1918]. 

2.  Das  dritte  kleine  Bachfest  zu  Eisenach  : 

i.  Der  Festgottesdienst  in  der  St.  Georgenkirche  zu 

Eisenach  am  30  September  1917. 
n.  Vortrage  und  Verhandlungen  der  Mitgliederver- 
sammlung  des  dritten  kleinen   Bachfestes  in 
Eisenach  am  29  September  1917. 

3.  Seb.  Bachs  Stellung  zur  Choralrhythmik  der  Luther- 

zeit.     By  Hans  Joachim  Moser. 

4.  Zur  Motivbildung  Bachs.    Ein  Beitrag  zur  Stilpsycho- 

logie.     By  Ernst  Kurth. 

5.  Ein  Programmtrio    Karl    Philipp    Emanuel    Bachs. 

By  Hans  Mersmann. 

6.  Hermann  Kretzschmar  [b.  19  Jan.  1848]. 

7.  Review. 

The  frontispiece  is  a  copy  of  the  oil  portrait  of  Bach  after 
Haussmann,  copied  by  J.  M.  David  in  1746. 


APPENDIX    IV 
BIBLIOGRAPHY  OF  BACH  LITERATURE 

THE  following  list  does  not  include  magazine  articles  or 
technical  works.  A  comprehensive  bibliography,  com- 
piled by  Max  Schneider,  will  be  found  in  the  Bach- 
Jahrbuch  for  1905  and  1910.  Shorter  lists  are  in 
C.  F.  Abdy  Williams'  '  Bach '  (1900)  and  Andre  Pirro's 
'  J.-S.  Bach  '  (1906).  Titles  within  square  brackets  in 
the  following  list  are  inserted  upon  the  authority  of  the 
'  Bach-Jahrbuch,'  but  are  not  discoverable  in  the  annual 
Book  Catalogues.  Since  the  absence  of  an  Italian  section 
may  be  remarked,  it  should  be  said  that  the  *  Catalogo 
generale  della  labreria  Italiana,  1847-1899  '  (published  in 
1910)  contains  no  reference  to  Bach.  Nor  does  the 
Supplement  of  1912. 

I.  GERMANY 

Johann  Christoph  W.  Kuhnau,  'Die  blinden  Tonkunstler.' 

Berlin.     1810. 
J.    E.    Grosser,    '  Lebensbeschreibung    des    Kapellmeisters 

Johann  Sebastian  Bach.'     Breslau.     1834. 
Albert  Schiffner,  '  Sebastian  Bachs  geistige  Nachkommen- 

schaft.'    Leipzig.     1840. 
Johann  T.  Mosewius,   'Johann   Sebastian    Bach  in  seinen 

Kirch-Kantaten  und  Choralgesangen.'     Berlin.     1845. 
Johann  Carl  Schauer,  '  Johann  Sebastian  Bachs  Lebensbild  : 

Eine    Denkschrift    auf    seinen    lOOjahringen    Todestag.' 

Jena.     1850. 


288          JOHANN  SEBASTIAN  BACH 

C.  L.  Hilgenfeldt,  '  Johann  Sebastian  Bachs  Leben,  Wirken 

und  Werke.'     Leipzig.     1850. 
[W.  Naumann,  '  Johann  Sebastian  Bach.     Eine  Biographic.' 

Cassell.     1855.] 
[Anon. , '  Biographien  und  Charakteristiken  der  grossen  Meister : 

Bach,  Handel,  Gluck,  Haydn,  Mozart,  Beethoven,  mit 

Portrats.'    2nd  ed.    Leipzig.     I860.] 
C.  H.  Bitter,   'Johann  Sebastian  Bach.'    2  vols.    Berlin. 

1865.    2nd  ed.  1880. 
C.  Albert  Ludwig,  '  Johann  Sebastian  Bach  in  seiner  Bedeu- 

tung  fur  Cantoren,  Organisten,  und  Schullehrer.'    Bleich- 

roder.     1865. 
Alfred  Dorffel,  '  Thematisches  Verzeichniss  der  Instrumental- 

werke  von  Joh.  Seb.  Bach.    Auf  Grand  der  Gesammt- 

ausgabe    von   C.    F.    Peters.    Leipzig.     1867.    2nd    ed. 

1882. 
Carl  Tamme,  '  Thematisches  Verzeichniss  der  Vocalwerke  von 

Joh.  Seb.  Bach.    Auf  Grand  der  Gesammtausgaben  von 

C.  F.  Peters  und  der  Bach-Gesellschait.'    Leipzig,    n.d. 
C.  H.  Bitter,  ' C.  P.  E.  und  W.  F.  Bach  und  deren  Briider.' 

2  vols.     Berlin.     1868.    New  ed.  1880. 
[Anon.,  '  J.  S.  Bach.     Biographie.'     Leipzig.     1869.] 
L.  Ramann,  '  Bach  und  Handel.'     Leipzig.     1869. 
W.    Junghans,    '  Johann   Sebastian   Bach   als   Schuler   der 

Partikularschule  zu  St.  Michaelis  in  Liineburg.'     Liine- 

burg.     1870. 
Emil  Naumann,  '  Deutsche  Tondichter  von  Sebastian  Bach 

bis  auf  die  Gegenwart.'     Berlin.     1871.    5th  ed.  1882. 
M.   Schick,    '  J.    S.    Bach :     ein   musikaliscb.es   Lebensbild.' 

Reutlingen.     1873. 
Philipp  Spitta,  '  Johann  Sebastian  Bach.'    2  vols.    Leipzig. 

1873-1880. 

E.  Frommel,  '  Handel  und  Bach.'     Berlin.     1878. 
Elise  Polko,   '  Unsere  Musikklassiker.    Sechs  biographische 

Lebensbilder  '  [Bach,  etc.].     Leipzig.     1880. 
[Anon.,  '  J.  S.  Bach.     Biographie.'     [In  '  Meister  der  Ton- 

kunst,'  no.  2.]    Leipzig.     1880.] 
August  Reissmann,  'Johann  Sebastian  Bach.    Sein  Leben 

und  seine  Werke.'     Berlin  and  Leipzig.     1881. 


BIBLIOGRAPHY  289 

Otto  Gumprecht,  '  Warum  treiben  wir  Musik  ?  '     [Bach  and 

others.]    Leipzig.     1883. 

C.  H.  Bitter,  '  Die  Sohne  Seb.  Bachs.'     Leipzig.     1883. 
Jul.  Schumann,  '  Joh.  Seb.  Bach,  der  Kantor  der  Thomas- 

schule  zu  Leipzig.'     Leipzig.     1884. 

A.  L.  Grabner,  '  Johann  Sebastian  Bach.'     Dresden.     1885. 
FT.  Spitta,  'Haendel  und  Bach.     Zwei  Festreden.'     Bonn. 

1884. 
E.  Heinrich,  'Johann  Sebastian  Bach.     Ein  kurzes  Lebens- 

bild.'     Berhn.     1885. 
E.  Naumann,   'Deutsche  Tondichter  von  J.   S.   Bach   bis 

Richard  Wagner.'     Leipzig.     1886.     6th  ed.  1896. 
Paul  Meyer,  '  Joh.  Seb.  Bach.     Vortrag.'     Basel.     1887. 
Ludwig  Ziemssen,    'Johann  Sebastian   Bach.     Lebensbild.' 

Glogau.     1889. 

Richard  Batka,  '  J.  S.  Bach.'     Leipzig.     1893. 
Wilhelm  His,  'Johann  Sebastian  Bach.    Forschungen  iiber 

dessen  Grabstatte,  Gebeine  und  Antlitz.'     Leipzig.     1895. 
Wilhelm  His,  '  Anatomisches  Forschungen  iiber  J.  S.  Bach's 

Gebeine  und  Antlitz,  nebst  Bemerkungen   iiber  dessen 

Bilder.'    Leipzig.     1895. 
Armin    Stein,    '  J.    S.    Bach.     Ein    Kiintstlerleben.'     Halle. 

1896. 
Hans  von  Wolzogen,  '  Bach '   [In  '  Grossmeister  deutscher 

Musik '].     Berlin.     1897. 

[W.  Kleefeld,  *  Bach  und  Graupner.'     Leipzig.     1898.] 
[Fr.  Thomas,  '  Der  Stammbaum  des  Ohrdruffer  Zweigs  der 

Familie  von  J.  S.  Bach.'     Ohrdruf.     1899.] 
[Fr.  Thomas,  '  Einige  Ergebnisse  iiber  J.  S.  Bachs  Ohrdruffer 

Schulzeit.'     Ohrdruf.     1900.] 

B.  Stein,    '  Johann   Sebastian    Bach   und  die  Familie  der 
"  Bache."  '     Bielefeld.     1900. 

Fr.  von  Hausegger,  '  Unsere  deutschen  Meister '  [Bach  and 

others],    Munich.     1901. 

Arnold  Schering, '  Bachs  Textbehandlung.'     Leipzig.    1901. 
[W.  Tappert,  '  Sebastian  Bachs  Kompositionen  fur  die  Laute.' 

Berlin.     1901.] 
K.    Sohle,    'Sebastian    Bach    in   Arnstadt '     Berhn.     1902. 

2nd  ed.  1904. 


290          JOHANN  SEBASTIAN  BACH 

Arthur  Priifer,  '  Sebastian  Bach  und  die  Tonkunst  des  xix. 

Jahrhunderts.'     Leipzig.     1902. 

H.  Earth, '  Joh.  Sebastian  Bach  :  Lebensbild.'     Berlin.    1902. 
Gustav  Hocker,  '  Johann  Sebastian  Bach.'     Gotha.     1903. 
Paul  von  Bojanowski, '  Das  Weimar  Johann  Sebastian  Bachs.' 

Weimar.     1903. 

Jul.  Schumann,  '  Bach,  Handel,  Mendelssohn.  Die  protes- 
tantische  Kirchenmusik  in  Lebensbildern.'  Calw  and 
Stuttgart.  1903. 

[_.  Weissgerber, '  J.  S.  Bach  in  Arnstadt.'     Arnstadt.     1904.] 
[K.  Storck, '  J.  S.  Bach  :  Charakter  und  Lebensgang.'     Berlin. 

1905.] 

[A.  Pischinger,  '  J.  S.  Bach.'     Munich.     1905.] 
Philipp  Wolfram,  '  Joh.  Seb.  Bach.'     Berlin.     1906. 
Albert  Schweitzer,  '  J.  S.  Bach.'     Berlin.     1908. 
Friedrich  Hashagen,  '  Joh.  Sebastian  Bach  als  Sanger  und 

Musiker  des  Evangeliums.'     Wismar.     1909. 
Max  Triimpehnann,  '  Joh.  Sebastian  Bach  und  seine  Bedeut- 
ung  fur  die  Choralkomposition  unserer  Zeit.'     Magdeburg. 
1909. 
August    Wildenhahn,     'Joh.    Sebastian    Bach.'     Eisenach. 

1909. 
Philipp  Wolfram, '  Johann  Sebastian  Bach.'     2  vols.    Leipzig. 

1910. 

Andre  Pirro,  '  Johann  Sebastian  Bach.     Sein  Leben  und  seine 
Werke.'     [Translated    from    the    French    by    Bernhard 
Engelke.]     Berlin.     1910. 
Johannes    Schreyer,    '  Beitrage   zur   Bach-Kritik.'     Leipzig. 

1911. 

Martin  Falck,  '  Wilhelm  Friedemann  Bach.     Sein  Leben  und 
seine  Werke,  mit  thematischem  Verzeichnis  seiner  Kom- 
positionen  und  zwei  Bildern.'     Leipzig,     c.  1911-14. 
K.  Glebe,  '  Johann  Sebastian  Bach.'     Halle.     1912. 
La  Mara,  '  Johann  Sebastian  Bach.'     5th  edition.     Leipzig. 

1912. 

H.  Reimann,  '  Johann  Sebastian  Bach.'     1912. 
Armui  Stein,  '  Johann  Sebastian  Bach.'     Halle.     1912. 
Rudolf  Wustmann,  '  Joh.  Seb.  Bachs  Kantatentexte.'     Leip- 
zig.    1914. 


BIBLIOGRAPHY  291 

Max  Hitter, '  Der  Stil  Job.  Seb.  Bachs  in  seinem  Choralsatze.' 

Bremen.     1913. 
Ernst    Kurth,    '  Grundlagen    des    linearen    Kontrapunkts. 

Einfuhrung  in  Stil  und  Technik  von  Bachs  melodischer 

Polyphonie.'     Bern.     1917. 

II.  FRANCE 

Johann  Nikolaus  Forkel,  '  Vie,  talents  et  travaux  de  Jean- 
Sebastien  Bach.'  [Translated  from  the  German  by  F61ix 
Grenier.]  Paris.  1876. 

Ernest  David,  '  La  vie  et  les  oauvres  de  J.-S.  Bach,  sa  famille, 
ses  eleves,  ses  contemporains.'  [An  abridged  translation 
of  Spitta.]  Paris.  1882. 

William  Cart,  '  Un  maitre  deux  fois  centenaire :  etude  sur 
J.-S.  Bach,  1685-1750.'  Paris.  1884.  New  ed.  1898. 

Andre  Pirro,  '  L'Orgue  de  Jean-Sebastien  Bach.'  Paris. 
1895. 

[G.  Fink,   'Etude  biographique  sur  Jean-Sebastien  Bach.' 
Angouleme.     1899.] 
[— .  Daubresse,  '  Haendel  et  Bach.'     Paris.     1901.] 

Albert  Schweitzer,  '  J.  S.  Bach,  le  musicien-poete.'  Leipzig. 
1905. 

Andre  Pirro, 'J.-S.  Bach.'    Paris.    1906.    4th  edition.    1913. 

Andre  Pirro, '  L'Esthetique  de  Jean-Sebastien  Bach.'  Paris. 
1907. 

III.  GREAT  BRITAIN 

Johann  Nikolaus   Forkel,    '  Life  of  John   Sebastian   Bach. 

Translated    from    the    German'    [by    —    Stephenson]. 

London.     1820. 
C.  H.  Bitter,  '  The  Life  of  J.  Sebastian  Bach.    An  abridged 

translation  from  the  German.'     [By  Janet  Elizabeth  Kay 

Shuttleworth.]     London.     1873. 
R.  Lane  Poole,  '  Sebastian  Bach.'     London.     1881. 
Sedley  Taylor,  'The  Life  of  J.  S.  Bach  in  relation  to  his 

work  as  a  Church  musician  and  composer.'     Cambridge. 

1897. 
Philipp  Spitta,   '  Johann  Sebastian  Bach  :    His  work  and 


292          JOHANN  SEBASTIAN  BACH 

influence  on  the  music  of  Germany,  1685-1750.'   Translated 

from  the  German  by  Clara  Bell  and  J.  A.  Fuller  Maitland. 

3  vols.     London.     1899. 

C.  F.  Abdy  Williams,  '  Bach.'    London.     1900. 
A.  Maczewski  and  F.  G.  Edwards,  art.  '  Bach '  in  *  Grove's 

Dictionary,'  vol.  i.     1904. 
E.  H.  Thorne,  '  Bach.'     London.     1904. 
C.  H.  H.  Parry,  '  Johann  Sebastian  Bach.'     London  and  New 

York.     1909. 
Donald  F.  Tovey,  art.  '  J.  S.  Bach,'  in  '  Encyclopaedia  Britan- 

nica/     Vol.  iii.     1910. 
Albert   Schweitzer,    '  J.    S.    Bach.     With   a  Preface   by  C. 

M.  Widor.     English  translation  by  Ernest  Newman.'    2 

vols.     London.     1911. 
C.   Sanford  Terry,   '  Bach's  Chorals.'     3  vols.    Cambridge. 

1915,  1917,  1920. 
W.  G.  Whittaker,  '  Fugitive  Notes  on  certain  Cantatas  and 

Motets  by  J.  S.  Bach.'     London.     1920. 

IV.  UNITED  STATES  OF  AMERICA 

Andre  Pirro,  '  Johann  Sebastian  Bach,  the  Organist,  and  his 
works.'  [Translated  from  the  French  by  Wallace  Good- 
rich.] New  York.  1902. 

Elbert  Hubbard,  '  Little  voyages  to  the  homes  of  great 
musicians.'  New  York.  1902. 

Ludwig  Ziemssen,  'Johann  Sebastian  Bach.'  [Translated 
from  the  German  by  G.  Putnam  Upton.]  Chicago.  1905. 

Rutland  Boughton,  '  Bach.'     New  York.     1907. 

V.  HOLLAND 

A.  M.  Oordt,  '  Een  koort  woord  over  Bach.'    Leiden.     1873. 

VI.  BELGIUM 

Charles  Martens, '  Un  livre  nouveau  sur  J.-S.  Bach.'     Brussels 

1905. 
Victor  Hallut,  «  Les  Maitres  classiques  du  dix-huitieme  siecle. 

[Bach  and  others.]    Brussels.     1909. 

• 


BIBLIOGRAPHY  293 

VII.  RUSSIA 

[Kuschenaw  Dmitrevsky,  *  Das  lyrische  ^Museum  '  (no.  25). 

[The   oldest    Russian    biography   of    Bach.]    Petrograd. 

1831]. 

[W.  Th.  Odoewsky,  *  Sebastian  Bach.'     Petrograd.     1890.] 
[G.  M.  Bazunow,  '  J.  S.  Bach.'    Petrograd.     1894.] 
[S.  M.  Haljutin,  '  J.  S.  Bach.'    Minsk.     1894.] 
[Adolf  Chybinski,  '  J.  S.  Bach.'    Warsaw.     1910.] 


APPENDIX  V 

A  COLLATION  OF  THE  NOVELLO  AND  PETERS 
EDITIONS  OF  THE  ORGAN  WORKS 

Novello  :  Book  I.    EIGHT  SHOBT  PRELUDES  AND  FUGUES. 
Page    2.  Prelude  and  Fugue  in  C  major  (P.  bk.  247  p.  48). 


5. 

Do. 

do. 

D  minor  (ib.  51). 

8. 

Do. 

do. 

E  minor  (ib.  54). 

11. 

Do. 

do. 

F  major  (ib.  57). 

14. 

Do. 

do. 

G  major  (ib.  60). 

17. 

Do. 

do. 

G  minor  (ib.  63). 

20. 

Do. 

do. 

A  minor  (ib.  66). 

23. 

Do. 

do. 

B  flat  major  (ib. 

Novello  :  Book  II.    PRELUDES,  FUGUES,  AND  TRIO. 
Page  26.  AUabreve  in  D  major  (P.  bk.  247  p.  72). 
30.  Prelude  in  G  major  (ib.  82). 
34.  Canzona  in  D  minor  (P.  bk.  243  p.  54). 
38.  Fugue  (The  Giant)  in  D  minor  (P.  bk.  246  p.  78). 
41.  Fugue  in  G  minor  (P.  bk.  247  p.  85). 
44.  Prelude  and  Fugue  (the  Short)  in  E  minor  (P. 

bk.  242  p.  88). 

48.  Prelude  and  Fugue  in  C  minor  (P.  bk.  243  p.  32). 
54.  Trio  in  D  minor  (ib.  72). 

Novello  :  Book  HI.    FANTASIAS,  PRELUDES,  AND  FUGUES. 
Page  57.  Fantasia  in  C  minor  (5  parts)  (P.  bk.  243  p.  66). 
60.  Fugue  in  B  minor  (on  a  theme  by  Corelli)  (ib.  46). 
64.  Prelude  and  Fugue  in  A  major  (P.  bk.  241  p.  14) 
70.          Do.  do.       C  major  (ib.  p.  2). 


ORGAN  WORKS  295 

76.  Fantasia  and  Fugue  in  C  minor  (P.  bk.  242  p.  55). 
84.  Fugue  (the  Short)  in  G  minor  (P.  bk.  243  p.  42). 

Noveilo  :  Book  IV.    SONATAS  OR  TRIOS  FOR  Two  MANUALS 

AND  PEDAL. 

Page    88.  Sonata  in  E  flat  major  (P.  bk.  240  p.  2). 
97.          Do.    C  minor  (ib.  11). 
110.          Do.    D  minor  (ib.  24). 

Noveilo  :  Book  V.    SONATAS  OR  TRIOS  FOR  Two  MANUALS 

AND  PEDAL  (IV.-VL). 

Page  124.  Sonata  in  E  minor  (P.  bk.  240  p.  36). 
134.          Do.    C  major  (ib.  46). 
151.          Do.    G  major  (ib.  63). 

Noveilo  :  Book  VI.    TOCCATA,  PRELUDES,  AND  FUGUES. 
Page      2.  Toccata  and  Fugue  in  D  minor  (P.  bk.  243  p.  24) . 
10.  Prelude  and  Fugue  in  D  major  (ib.  p.  14). 
21.          Do.  do.        F  minor  (P.  bk.  241  p.  29). 

28.          Do.  do.        E  flat  major  (P.  bk.  242 

p.  2). 

Noveilo  :  Book  VII.    PRELUDES  AND  FUGUES. 

Page    42.  Prelude  and  Fugue  (the  Great)  in  A  minor  (P.  bk. 

241  p.  54). 

52.          Do.  do.  B  minor  (ib.  78). 

64.          Do.  do.  C  minor  (ib.  36). 

74.  Prelude  and  Fugue  in  C  major  (P.  bk.  243  p.  2). 
80.          Do.  do.  G  major  (ib.  8). 

Noveilo  :  Book  VIII.    PRELUDES  AND  FUGUES. 

Page    88.  Prelude  and  Fugue  in  C  major  (P.  bk.  242  p.  62) . 
98.  Do.  (the  Great)  in  E  minor  (P.  bk. 

241  p.  64). 

112.  Do.  do.  Gmajor(t'6.p.  7). 

120.  Do.  in  G  minor  (P.  bk.  242  p.  48) . 

127.  Fantasia  and  Fugue  (the  Great)  in  G  minor  (P. 
bk.  241  p.  20). 


296          JOHANN  SEBASTIAN  BACH 

Novello  :  Book  IX.    PBELTTDES  AND  FUGUES. 
Page  137.  Toccata   and   Fugue   (the   Great)   in  C  major 

(P.  bk.  242  p.  72). 

150.  Prelude  and  Fugue  in  D  minor  (ib.  42). 
156.  Do.  (the  Great)  in  C  major  (P.  bk. 

241  p.  46). 

168.  Fantasia  in  G  major  (P.  bk.  243  p.  58). 
176.  Toccata   and  Fugue    (the   Great)   in   F  major 
(P.  bk.  242  p.  16). 

Novello  :  Book  X.    TOCCATA,  PBELUDES,  AND  FUGUES. 
Page  196.  Toccata  and  Fugue  (the  Dorian)  in  D  minor 

(P.  bk.  242  p.  30.) 

208.  Prelude  and  Fugue  (the  Short)  in  A  minor  (ib.  84). 
214.  Passacaglia  in  C  minor  (P.  bk.  240  p.  75). 
230.  Fugue  in  C  minor  (P.  bk.  243  p.  36). 
238.  Prelude  in  A  minor  (ib.  68). 

Novello :     Book    XI.    FOUR    CONCERTOS    [after    Antonio 

Vivaldi]. 

Page      1.  Concerto  in  G  major  (P.  bk.  247  p.  2). 
10.          Do.       A  minor  (ib.  10). 
24.          Do.       C  major  (ib.  22). 
49.     *     Do.       C  major  (ib.  44). 

Novello  :    Book  XII.    PRELUDES,  FANTASIAS,  FUGUES, 

TRIOS,  ETC. 

Page  55.  Fugue  in  G  major  (P.  bk.  2067  p.  18). 
60.  Fantasia  and  Fugue  in  A  minor  (ib.  3). 
71.  Fantasia  with  Imitation  in  B  minor  (P.  bk.  215 

p.  41). 

75.  Fantasia  in  G  major  (P.  bk.  2067  p.  25). 
83.  Fugue  in  D  major  (P.  bk.  2067  p.  22). 
86.        Do.     G  major  (ib.  12). 

91.  Prelude  in  C  major  (P.  bk.  247  p.  77). 

92.  Fantasia  in  C  major  (ib.  78). 

94.  Prelude  in  C  major  (ib.  76). 

95.  Fugue  in  C  minor  (P.  bk.  243  p.  50). 


ORGAN  WORKS  297 

100.  Fugue  in  C  major  (P.  bk.  247  p.  80). 
102.  Pastorale  in  F  major  (P.  bk.  240  p.  86). 
108.  Trio  in  C  minor  (P.  bk.  2067  p.  30). 
112.  Aria  in  F  major  (ib.  34). 

[Novello's  Books  XIII.  and  XIV.  (Choral  Preludes  and 
Variations)  are  superseded  by  Books  XV.-XIX.] 

:  Book  XV.    ORGELBUCHLEIN  (LITTLE  ORGAN  BOOK; 

3.  Nun  komm,  der  Heiden  Heiland  (P.  bk.  244  p.  44). 

5.  Gott  durch   deine   Giite,   or,   Gottes   Sohn   ist 
Kommen  (ib.  20). 

9.  Herr  Christ,   der  ein'ge  Gottes-Sohn,  or,  Herr 

Gott,  nun  sei  gepreiset  (ib.  24). 
11.  Lob  sei  dem  allmachtigen  Gott  (ib.  40). 
13.  Puer  natus  in  Bethlehem  (ib.  60). 
15.  Gelobet  seist  du,  Jesu  Christ  (ib.  19). 
18.  Der  Tag,  der  ist  so  freudenreich  (ib.  13). 
21.  Vom  Himmel  hoch,  da  komm  ich  her  (ib.  53). 
23.  Vom  Himmel  kam  der  Engel  Schaar  (ib.  54). 
26.  In  dulei  jubilo  (ib.  38). 
29.  Lobt  Gott,  ihr  Christen,  allzugleich  (»&.  42). 
31.  Jesu,  meine  Freude  (ib.  34). 
33.  Christum  wir  sollen  loben  schon  (ib.  8). 
36.  Wir  Christenleut'  (ib.  58). 
39.  Helft  mir  Gottes  Giite  preisen  (ib.  23). 
43.  Das  alte  Jahr  vergangen  ist  (ib.  12). 
45.  In  dir  ist  Freude  (ib.  36). 

60.  Mit  Fried'  und  Freud'  ich  fahr'  dahin  (ib.  42). 
53.  Herr  Gott,  nun  schleuss  den  Himmel  auf  (ib.  26). 
58.  0  Lamm  Gottes  unschuldig  (ib.  46). 

61.  Christe,  du  Lamm  Gottes  (ib.  3). 

64.  Christus,  der  uns  selig  macht  (ib.  10). 

67.  Da  Jesus  an  dem  Kreuze  stund  (ib.  11). 

69.  O  Mensch,  bewein'  dein'  Siinde  gross  (ib.  48). 

73.  Wir  danken  dir,  Herr  Jesu  Christ  (ib.  59). 

76.  Hilf  Gott,  dass  mir's  gelinge  (ib.  32). 

79.  Christ  lag  in  Todesbanden  (ib.  7). 

81 .  Jesus  Christus,  unser  Heiland  (ib.  34) . 

83.  Christ  ist  erstanden  (ib.  4). 


298          JOHANN  SEBASTIAN  BACH 

89.  Erstanden  1st  der  heil'ge  Christ  (P.  bk.  244  p.  16). 

91.  Erschienen  1st  der  herrliche  Tag  (ib.  17). 

94.  Heut'  triumphiret  Gottes  Sohn  (ib.  30). 

97.  Komm,  Gott,  Schopfer,  heiliger  Geist  (P.  bk.  246 
p.  86). 

99.  Herr  Jesu  Christ,  dich  zu  uns  wend'  (P.  bk.  244 

p.  28). 

101.  Liebster  Jesu,  wir  sind  hier  (ib.  40). 
103.  Dies  sind  die  heil'gen  zehn  Gebot'  (ib.  14). 
105.  Vater  unser  im  Himmelreich  (ib.  52). 
107.  Durch  Adams  Fall  ist  ganz  verderbt  (ib.  15). 
109.  Es  ist  das  Heil  uns  kominen  her  (ib.  18). 
111.  Ich  ruf  zu  dir,  Herr  Jesu  Christ  (ib.  33). 
113.  In  dich  hab'  ich  gehoffet,  Herr  (ib.  35). 
115.  Wenn  wir  in  hochsten  Nothen  sein  (ib.  55). 
117.  Wer  nur  den  lieben  Gott  lasst  walten  (ib.  57). 
119.  Alle  Menschen  miissen  sterben  (ib.  2). 
121.  Ach  wie  nichtig,  ach  wie  fluchtig  (ib.  2). 

Novello :    Book    XVI.    THE    Six    '  SCHUBLER '    CHORALE 
PRELUDES  AND  THE  '  CLAVIERUBUNG,'  PART  m. 

(a)  The  Schiibler  Preludes. 

Page      1 .  Wachet  auf ,  raft  uns  die  Stimme  (P.  bk.  246  p.  72) . 
4.  Wo  soil  ich  fliehen  hin,  or,  Auf  meinen  lieben 

Gott  (ib.  84). 

6.  Wer  nur  den  lieben  Gott  lasst  walten  (ib.  76). 
8.  Meine  Seele  erhebt  den  Herren  (ib.  33). 
10.  Ach  bleib  bei  uns,  Herr  Jesu  Christ  (P.  bk.  245 

p.  4). 
14.  Kommst  du  nun,  Jesu,  vom  Himmel  herunter 

(P.  bk.  246  p.  16). 
(6)  The  '  Clavieriibung,'  Part  m. 
19.  Prelude  in  E  flat  major  (P.  bk.  242  p.  2). 
28.  Kyrie,  Gott  Vater  in  Ewigkeit  (P.  246  p.  18) 
30.  Christe,  aller  Welt  Trost  (ib.  20). 
33.  Kyrie,  Gott  heiliger  Geist  (ib.  23). 

36.  Kyrie,  Gott  Vater  in  Ewigkeit  (ib.  26). 

37.  Christe,  aller  Welt  Trost  (ib.  27). 


ORGAN  WORKS  299 

38.  Kyrie,  Gott  heiliger  Geist  (P.  246  p.  28). 

39.  Allein  Gott  in  der  Hoh'  sei  Ehr'  (Pk.  b.  245  p.  10). 
40.*        Do.  do.  do       (ib.  12). 

41.  Do.  do.  do.      (ib.  29). 

42.  Dies  sind  die  heil'gen  zehn  Gebot'  (ib.  50). 
47.          Do.  do.  do  (ib.  54). 

49.  Wir  glauben  all'  an  einen  Gott,  Schopfer  (P.  bk. 

246  p.  78). 

52.  Do.  do.  do.  (ib.  81). 

53.  Vater  unser  im  Himmelreich  (ib.  60). 

61.  Do.  do.  (P.  bk.  244  p.  51). 

62.  Christ,  unser  Herr,  zum  Jordan  kam  (P.  bk.  245 

p.  46). 

67.  Do.  do.  do.  (ib.  49). 

68.  Aus  tiefer  Noth  schrei'  ich  zu  dir  (ib.  36). 
72.          Do.  do.  do.          (ib.  38). 
74.  Jesus  Christus  unser  Heiland  (ib.  82). 
80.          Do.                do.  (ib.  92). 
83.  Fugue  in  E  flat  major  (P.  bk.  242  p.  10). 


Novello  :  Book  XVII.    THE  EIGHTEEN  CHORALE  PRELUDES. 
Page      1 .  Komm,  heiliger  Geist,  Herre  Gott  (P.  bk.  246  p.4) . 
10.          Do.  do.  do.         (ib.  10). 

18.  An  Wasserfliissen  Babylon  (P.  bk.  245  p.  34). 
22.  Schmiicke  dich,  O  liebe  Seele  (P.  bk.  246  p.  60). 
26.  Herr  Jesu  Christ,  dich  zu  uns  wend'  (P.  bk.  245 

p.  70). 

32.  O  Lamm  Gottes  unschuldig  (P.  bk.  246  p.  45). 
40.  Nun  danket  alle  Gott  (ib.  34). 
43.  Von  Gott  will  ich  nicht  lassen  (ib.  70). 
46.  Nun  komm,  der  Heiden  Heiland  (ib.  38). 
49.          Do.  do.  do.         (ib.  40). 

52.          Do.  do.  do.         (ib.  42). 

56.  Allein  Gott  in  der  Hoh'  sei  Ehr'  (P.  bk.  245  p.  26). 
60.          Do.  do.  do       (ib.  22). 

66.          Do.  do.  do.     (ib.  17). 

74.  Jesus  Christus,  unser  Heiland,  der  von  uns  (ib.  87). 
79.         Do.  do.  do.  (»6.90). 


300         JOHANN  SEBASTIAN  BACH 

82.  Komm,  Gott,  Schopfer,  heiliger  Geist  (P.  bk.  246 

p.  2). 
85.  Wenn   wir   in  hochsten   Nothen   sein,  or,  Vor 

deinen  Thron  tret'  ich  allhier  (ib.  74). 

Novello :  Book  XVIII.    MISCELLANEOUS  CHORALE  PRELUDES 

(Part  i.). 
Page      1.  Ach  Gott  und  Herr  (P.  bk.  2067  p.  38), 

2.  Do.  do.    (P.  bk.  245  p.  3). 

3.  Do.  do.    (P.  bk.  2067  p.  39). 

4.  Allein  Gott  in  der  Hob.'  sei  Ehr'  (not  in  P.). 

5.  Do.  do.  do.         (P.  bk.  245  p.  6). 
7.          Do.            do.            do.         (ib.  30). 

11.          Do.  do.  do.         (ib.  8). 

13.  An  Wasserfliissen  Babylon  (ib.  32). 
16.  Christ  lag  in  Todesbanden  (ib.  43). 
19.  Do.  do.  (ib.  40). 

23.  Christum  wir  sollen  loben  schon,  or,  Was  fiircht'st 

du,  Feind  Herodes,  sehr  (P.  bk.  244  p.  9). 

24.  Das  Jesulein  soil  doch  mein  Trost  (P.  bk.  2067 

p.  47). 

26.  Der  Tag  der  ist  so  freudenreich  (not  in  P.). 
28.  Durch  Adams  Fall  ist  ganz  verderbt  (P.  bk.  245 

p.  56). 

30.  Ein'  feste  Burg  ist  unser  Gott  (ib.  58). 
35.  Erbarm'  dich  mein,  O  Herre  Gott  (not  in  P.). 

37.  Gelobet  seist  du,  Jesu  Christ  (P.  bk.  244  p.  102). 

38.  Do.  do.        do.       (ib.  20). 

39.  Do.  do.        do.       (P.  bk.  245  p.  61). 

41.  Gottes  Sohn  ist  kommen  (P.  bk.  244  p.  22). 

42.  Do.  do.  (P.  bk.  245  p.  64). 

43.  Herr  Christ,  der  ein'ge  Gottes-Sohn  (P.  bk.  244 

p.  25). 

44.  Herr  Gott,  dich  loben  wir  (Te  Deum  Laudamus) 

(P.  bk.  245  p.  65). 

50.  Herr  Jesu  Christ,  dich  zu  uns  wend '  (P.  bk.  244 

p.  28). 

52.  Do.  do.  do.         (not  in  P.). 

53.  HerzKch  thut  mich  verlangen  (P.  bk.  244  p. 


ORGAN  WORKS  301 

54.  Ich  hab'  mein'  Sach  Gott  heimgestellt  (P.  bk.  245 

p.  74). 

58.  Do.  do.  do.  (not  in  P.). 

59.  In  dich  hab'  ich  gehoffet,  Herr  (P.  bk.  245  p.  94). 
61.  In  dulci  jubilo  (P.  bk.  244  p.  103). 

64.  Jesu,  meine  Freude  (P.  bk.  245  p.  78). 

69.  Jesus,  meine  Zuversicht  (P.  bk.  244  p.  103). 

70.  Liebster  Jesu,  wir  sind  hier  (ib.  105). 

71.  Do.  do.  (ib.  105). 

72.  Do.  do.  (ib.  39). 

73.  Lob  sei  dem  allmachtigen  Gott  (ib.  41). 

74.  Lobt  Gott,  ihr  Christen,  allzugleich  (ib.  106). 

75.  Meine    Seele    erhebt    den    Herren    (Magnificat) 

(P.  bk.  246  p.  29). 
80.  Nun  freut  euch,  lieben  Christen  g'mein,  or,  Es 

ist  gewisslich  an  der  Zeit  (ib.  36). 
83.  Nun  komm,  der Heiden  Heiland  (P.  bk.  244 p.  45). 


Novello:  Book  XIX.    MISCELLANEOUS  CHORALE  PRELUDES 
(PART  n.)  AND  VARIATIONS. 

(a)  Preludes. 

Page      2.  Valet  will  ich  dir  geben  (P.  bk.  246  p.  53). 
7.          Do.  do.  (ib.  56). 

12.  Vater  unser  im  Himmelreich  (ib.  66). 
14.  Vom  Himmel  hoch,  da  komm  ich  her  (ib.  67) . 
16.          Do.  do.  do.  (ib  68). 

19.          Do.  do.  do.  (P.  bk.  244 

p.  106). 

21 .  Wer  nur  den  lieben  Gott  lasst  walten  (ib.  56) . 

22.  Do.  do.  do.  (»6.66). 

23.  Wie  schon  leuchtet  der  Morgenstern  (not  in  P.). 
28.  Wir  Christenleut'  (P.  bk.  2067  p.  52). 

30.  Wir  glauben  all'  an  einen  Gott,  Vater  (P.  bk.  246 

p.  82). 
32.  Wo  soil  ich  fliehen  hin  (P.  bk.  2067  p.  48). 

(6)  Variations. 
36.  Christ,  der  du  bist  der  helle  Tag  (P.  bk.  244  p.  60). 


302          JOHANN  SEBASTIAN  BACH 

44.  O  Gott,  du  frommer  Gott  (P.  bk.  244  p.  68). 

55.  Sei  gegrusset,  Jesu  giitig  (ib.  76). 

73.  Vom  Himmel  hoch,  da  komm  ich  her  (»'&.  92). 

The  Peters  volumes  244,  245,  246,  2067  contain  movements 
excluded  from  the  Novello  edition,  viz.  : — 

Book  244  :  the  figured  Choral  (Herr  Christ,  der  ein'ge 
Gottes-Sohn)  on  p.  107,  and  the  Variant 
texts  on  pp.  108-112. 

Book    245  :    the  Variant  texts  on  pp.  96-113. 

Book  246  :  the  Variant  texts  on  pp.  86-103  (excepting  the 
B  version  of  '  Komm,  Gott,  Schopfer, 
heiliger  Geist '). 

Book  2067  :  the  Choral  Preludes  on  pp.  39  (Auf  meinen 
lieben  Gott),  40  (Wir  glauben  all'  an 
einen  Gott),  42  (Jesu  Leiden,  Pein  und 
Tod),  44  (Ach  Gott,  vom  Himmel  sieh 
darein),  54  (Aus  der  Tiefe  ruf  ich), 
56  (Christ  lag  in  Todesbanden),  and  the 
*  Kleines  hannonisches  Labyrinth  '  on 
p.  16. 


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INDEX 


ABER,  ADOLF,  281. 

Adlung,  Jakob,  xiv. 

Agricola,    Johann    Friedrich,   xiv, 

xxir,  102. 

Johannes,  190,  209. 

Ahle,  Johann  Georg,  15  n. 
Albinus,  Johann   Georg,  190,  192, 

208. 

Altenburg,  Johann  Michael,  206. 
Altenburg,  101. 
Altnikol,  Johann  Christoph,  27  »., 

102,  123, 140  n.,  310. 

Johann  Sebastian,  310. 

Amalia  of  Prussia,  Princess,    102, 

140. 

Amalienbibliothek,  the,  121,  140. 
Anhalt-Cothen,  Prince  Leopold  of, 

20,  22,  90,  112,  172,  174,  192. 
Anspach,  103. 
Anton,  Karl,  283. 
Arnstadt,  7,  9,  13,  14  n.,  100,  135, 

187,  303,  306,  308. 
Augustus  ii.,  Kiiig  of  Poland,  18, 

44. 
Augustus  in. ,  King  of  Poland,  23, 

46. 


BACH,  ABRAHAM,  303. 

Andreaa,  281. 

Anna  Carolina,  309. 

Anna  Magdalena,  47,  137  n.,  253 
n.,256. 

Anna  Sophia,  305. 

Barbara  Katharina,  306. 

Barbara  Maria,  306. 

Carl  P.  E.,  xiv,  xxiv,  xxxi,  1  n., 
4  n.,  5,  23, 47,  48,  50,  54  «.,  85, 
93  n.,  100,  104,  121  n.,  122  n., 
123,  124  n.,  138  n.,  163,  170  n., 
248,  279,  284,  285,  286,  309. 

Caspar,  303. 

Christian  Gottlieb,  310. 

Christiane  Benedicta,  310. 


Chrutiane  Dorothea,  310. 
Christiane  Sophie  Henriette,  310. 
Chriitoph,  303,  306. 
Dorothea  Maria,  306. 
Elisabeth     Juliane     Friederike, 

310. 

Ernestus  Andreas,  310. 
Georg  Christoph,  6  n. ,  306. 
Georg  Michael,  304. 
Gottfried,  308. 
Gottfried  Heinrich,  310. 
Gottlieb  Friedrich,  304. 
Hans,  2  n.,  3n.,  277,303. 
Hans  (d.  1636),  303. 
Heinrich,  5  n.,  303,  308. 
Jakob,  304. 
Johann  vEgidiua  (d.  1717),  305. 

305. 

Johann  Ambrosius,  9,  306,  307. 
Johann  Andreas  (d.  1694),  306. 

(d.  1779?),  307. 

Johann  August  Abraham,  310. 

Johann  Balthasar,  307. 

Johann  Bernhard  (d.  1743),  103 

n.,  307. 

(d.  1749)5,  6  n.,  305. 

Johann  Caspar,  305. 

Johann  Christian  (d.  1682),  305. 

(b.  1682),  305. 

(b.  1696),  305. 

(d.  1707),  306. 

(d.  1782),  3  n.,  105,  310. 

(d.  1814),  304. 

308. 

Johann  Chriatoph  {b.  1674),  308. 

(b.  1675),  305. 

(b.  1685),  305. 

(d.  1693),  9,  306. 

(b.  1702),  307. 

(d.  1703),  4,  140,  308. 

(d.  1721),  11,  14  n.,  307. 

(d.  1727),  305. 

(d.  1736),  306. 

(d.  1738),  308. 

m 


312 


JOHANN  SEBASTIAN  BACH 


BACH  (conid.)— 

Johann  Christoph  Friedrioh,  105, 
176,  283,  310. 

Johann  Elias,  103  n.,  306. 

Johann  Ernst,  (b.  1683),  12n.,  306. 

(d.  1777),  103  n.,  305. 

Johann  Friedrich,  (b,  1703),  305. 

(d.  1730),  308. 

Johann  Georg  (b.  1680),  305. 

(d.  1713),  306. 

Johann  Gottfried  Bernhard,  309. 
i  Johann  Giinther,  (d.  1683),  308. 

(b.  1703),  305. 

Johann  Heinrich,  (b.  1686),  306. 

(b.  1707),  307. 

(b.  1711),  306. 

(d.  c.  1730),  308. 

Johann  Jakob,  10  n.,  (b.  1682), 
14  n.1, 807. 

(d.  c.  1686),  305. 

(d.  1692),  305. 

Johann  Jonas,  307. 

Johann  Lorenz,  306. 

Johann  Ludwig,  141  n. ,  260,  304. 

Johannes  Matthaus,  308. 

Johann  Michael  (b.  1648),  5,  308. 

(b.  1680-90),  308. 

Johann  Nikolaus  (b.  1682),  305. 

(d.  1682),  305. 

(d.  1753),  3  Ji.,  6,308. 

Johann  Philipp,  304. 

Johann  Samuel,  305. 

Johann  Sebastian,  parentage,  9  ; 
at  Ohrdruf,  10;  at  Liineburg, 
11  ;  visits  Hamburg,  12  ;  and 
Celle,  13 ;  appointment  to 
Weimar  and  Arnstadt,  13,  14 
n. ;  visits  Liibeck,  14;  appoint- 
ment to  Miilhausen,  15 ;  and 
to  Weimar,  15;  visits  Halle, 
16 ;  and  Cassel,  16  n.  ;  contest 
•with  Marchand,  17 ;  visits 
Leipzig,  17  «.  ;  appointment  to 
Cothen,  20 ;  and  Leipzig,  21  ; 
Kapellmeister  of  Weissenfels, 
22 ;  Saxon  Court  Composer,  23  ; 
visits  Frederick  the  Great,  23  ; 
illness  and  death,  26;  titles, 
29 ;  duties  as  Cantor,  ib.  ;  in- 
come, 37,  111;  relations  with 
authorities,  39 ;  oonductorship 
of  the  Collegium  Musicum,  42; 
patriotic  compositions,  44  ;  his 
friends,  45;  character,  46; 
portraits,  47,  270,  279, 282, 283, 
284,  286 ;  his  Clavier  method, 


49  ff.  ;  as  an  organist,  61  ff.  ;  his 
registration,  65  ;  methods  as  a 
composer,  70  ff.  ;  indebtedness 
to  Vivaldi,  71;  rules  of  har- 
mony, 76  n. ',  his  melody,  80  ff.  ; 
his  fugal  writing,  86  ff.  ;  his 
vocal  works,  88  ff.  ;  comic  song 
attributed  to,  91  n. ;  qualities 
and  methods  as  a  teacher,  92  ff. ; 
his  pupils,  100  ff.  ;  his  modesty, 
106  ;  preference  for  Viola,  108  ; 
favourite  composers,  109 ;  re- 
lations with  Handel,  110; 
distinctions,  112;  joins  Mizler's 
Society,  ib.  ;  his  compositions, 
114  ff.  ;  revision  of  his  MSS., 
143  ff.  ;  use  of  ornaments,  145  ; 
his  industry,  148 ;  indebted- 
ness to  Vivaldi,  149;  superi- 
ority to  public  standards,  150  ; 
sublimity  of  his  aims,  151  ; 
chronological  catalogue  of  his 
compositions,  153  ff.  ;  his 
Cantata  libretti,  163  ff.  ;  pro- 
ductivity, 164;  author  of 
libretti,  166, 174, 177,  183,  184, 
185,  187,  188,  189,  190,  191, 
192,  193,  194,  195,  196,  197, 
199,  201,  202,  205,  206,  207, 
208,  211,  212,  213,  214,216,219, 
224 ;  dependence  on  Picander, 
178  ff.  ;  the  Choral  Cantata, 
182  ff.  ;  his  roots  in  the  Reform- 
ation, 188  ;  facsimiles  of  MSS., 
264;  bust  of,  268,  274;  his 
Kapelle  at  Cothen,  272;  and 
Paul  Gerhardt,  273;  Town 
Musicians  of  Leipzig,  273 ;  and 


277;  influence  of  K.  F.  Fischer 
upon,  277  ;  his  use  of  the  Viol 
da  Gamba,  279;  and  the 
Leipzig  Sunday  service,  284 ; 
his  use  of  ornaments,  285 ; 
and  the  '  Choralrhythmik '  of 
Luther's  time,  286  ;  his  'Motiv- 
bildung,'  ib.  ;  bibliography  of, 
287  ff.  ;  pedigree,  307  ff. ;  early 
notices  of,  xiii  ff.,  284;  articles 
on,  see  Bach-Jahrbuch,  272  ff. 

CHAMBER  Music. 

Flute  and  Clavier  (Sonatas), 
130,  157,  229,  262. 


BACH,  Johann  Sebastian  (contd.)— 
CHAMBER  Music  (contd.)— 
Flutes  (2)  and  Clavier  (Sonata 

in  G)  157,  229. 
Lute  Partitas,  161. 
Viol  da  Gamba  and  Clavier 

(Sonatas),  130,  157,  229. 
Violin  Solo  Suites  (Sonatas) 
82,  137,  153  n.,  157,  240, 
260  n. 

Violin  and  Clavier  :— 
Fugue  G.  mi.,  130n.,  157, 

262. 
Inventions,    130  n.,    157, 

265. 

Six  Sonatas  (B  mi.,  A 
ma.,  E  ma.,  C  mi.,  F 
mi.,  G  ma.),  130,  157, 
229,  269. 

Sonata  E  mi.,  130  n.,  157, 
262. 

Gmi.,  130  n.,  229. 

Suite  A  ma.,  130  ».,  157, 

229. 

Two  Violins,  and  Clavier  :— 
Sonata    C    ma.,    130    n., 

157,  229. 

Violin,  Flute  and  Clavier:— 
Instrumental  piece,  241. 
Sonata  C  mi.,  130  n.,  161, 
242. 

G    ma.,  130  n.,  157, 

229. 

Violoncello  Solo  Suites  (Son- 
atas), 82,  137,  157,  240. 

CLAVIKR  Music. 
Allemande  A  ma.  (?  J.  S.  B. ), 

261. 

A  mi.  (  ?  J.  S.  B. ),  261. 

Cmi.  (?  J.  S.  B.),261. 

G  mi.,  265. 

Gmi.,  265. 

Andante  G  mi.  ( ?  J.  S.  B. ), 

261. 

Applicatio  C  ma.,  246,  265. 
Aria    variata,    119   n.,    155, 

245. 

'  Bach,'  fugue  on,  122. 
Canons,  264,  see  also  '  Art  of 

Fugue.' 
Capriccio  (J.  C.  B.),  14  n., 

153,  245. 

(J.  J.  B.),  14n.,  153,245. 

Chromatic  Fantasia,  82,  127, 

157,  244. 


INDEX  313 

ClaTwr-Biichlein  (A.M.B.'a), 
157,  262. 

(W.  F.  B.'B),  157,  265. 

Clavieriibung,  82, 115n.,  116, 
117,  118,  134  n.,  159,  161, 
227,  262. 
Concerto  C  mi.  ( ?  J.  8.  B. ), 

261. 

Duetti,  161,  227. 
English  Suites,  78,  82,  128, 

157,  231,  264. 
Fantasia  A  mi. ,  155,  245. 

B  mi.,  154  n.,  155,  246. 

C  mi.,  154,  245. 

Cmi.,  154,245. 

(Prelude) C  mi. ,  127, 245. 

Cmi.  (?  J.  S.  B.),  261. 

C  mi.  (on  a  Rondo),  245. 

(Toccata)   D  ma.,   155, 

244. 

Gmi.,  155,245. 

Gmi.  (?J.  S.  B.),  261. 

Fantasia  and  Fughetta  B  fiat 
ma.,  154,  261. 

B  flat  ma.  (?  J.  S.  B.), 

261. 

Dma.,  154,261. 

Dma.  (?J.  S.  B.),  261. 

Fantasia  and  Fugue  A  mi., 
157,  244. 

Crai.,  161,245. 

Dmi.  (?  J.  S.  B.),  261. 

French  Suites,  128,  157,  231, 

245  n.,  246,  262,263,  264. 
Fugato  E  mi.  (?  J.  S.  B.), 

261. 

Fughetta  C  mi. ,  129, 153, 246. 
Fugue  A  ma.  155,  245. 

A  ma.,  155,  245. 

A  ma.,  155,  245. 

A  mi.,  155,  245. 

A  mi.,  129,  157,  228. 

Ami.  (?J.  S.  B.),261. 

Bmi.,  155,  245. 

Cma.,  154,  245. 

Cma.,  154,245. 

C  ma.    See  Short  organ 

Cma. 

C  mi.  (incomplete),  246. 

Cmi(?J.  S.  B.),  261. 

D  mi.,  154,  246. 

Dmi.,  154,245. 

Emi.,  154,245. 

Emi.  (?  J.  S.  B.),  261. 

Emi.  (?J.  S.  B.),261. 

Gma.  (?J.  S.  B.),261. 


314 


JOHANN  SEBASTIAN  BACH 


BACH,  Johann  Sebastian  (contd. ) — 
CLAVIBR  Music  (contd.) — 
German    Suites     (Partitas), 

159,  227. 

Gigue  F  mi.  ( ?  J.  S.  B.),  261. 
Goldberg  Variations,  82,  118, 

161,228. 
Inventions,    94,     124,     125, 

145,  157,  227,  266,  274. 
Italian  Concerto,    117,   161, 

227. 
Little  Preludes,  94,  124,  157, 

245,  265,  266. 
March  A  ma.,  263. 

D  ma.,  263. 

E  fiat  ma. ,  263. 

Minuet  A  mi.,  263. 

B  flat  ma.,  263. 

C  mi.,  263. 

D  mi.,  264. 

G  ma.,   154,   245,   262, 

265. 

Gma.,  154,245,265. 

Gma.,  263. 

G  ma,,  263. 

G  mi.,  154,  245,265. 

Minuet-Trio,  B  mi.,  246. 

C  mi.,  246. 

G  mi.,  267. 

Musette  D  ma.,  263. 
Notenbuch  (A.  M.  B.  's),  56  n. , 

159,  262. 

PartieAma.  (?J.  S.B.),261. 
Partita  B  mi.  161,227. 
PassacagliaDmi.  (?  J.  S.  B.), 

261. 
Polonaise  D  mi. ,  263. 

F  ma. ,  263. 

G  ma. ,  263. 

Gmi.,  263. 

Gmi.,  263. 

Gmi.,  263. 

Prelude,  A  mi.,  246,  266. 

(Fantasia)  A   mi.,  155, 

245. 

Bmi.  (?  J.  S.  B.),  261. 

C  ma. ,  245. 

(Fantasia)  C  mi.,  245. 

E  mi.  (incomplete)  246, 

266. 

G  mi. ,  266. 

Prelude  and  Fughetta  D  mi. , 
153,  244. 

E  mi.,  153,244. 

Fma.,  154,245. 

G  ma.,  154,  245. 


Prelude  and   Fugue  A  mi., 
155,  244. 

Ami.  (?  J.  S.  B.),  261. 

(Fughetta)  A  mi.,  153, 

244. 

E  flat  ma.,  244. 

E  flat  ma.,  157,264. 

Preludes  for  Beginners,  94, 

124,  157,  245. 
Sarabande  con  Partite  C  ma. 

(?  J.  S.  B.),  261. 
Scherzo  D  mi.  (?  J.  S.  B. ),  261 . 
Solo  E  flat  ma.,  263. 
Sonata  Ami.,  153  n.,  260. 

A  mi.  (1st  movement), 

264. 

Cma.,  15371.,  260. 

Dma.,  14  n.,  153,244. 

Dmi.,  153  n.,  260. 

Suite  A  ma.  (fragment),  245, 

267. 

Ami.,  157,244. 

B  flat  ma.  (?  J.  S.  B.  ),261. 

Cmi.,166n.,264. 

Ema.,  161  n.,  260. 

E  flat  ma.,  157,244. 

Emi.,  157,  161m.,  264. 

Fma.,  157,244. 

F  mi.  (fragment),   157, 

245. 
Symphonies,    125,    157,  227, 

267. 

Toccata  C  mi.,  157,  228. 
(Fantasia)  D  ma.,  155, 

244. 

Dmi.,  155,  244. 

E  mi.,  155,  244. 

F  sharp  mi.,  157,  228. 

G  ma.,  155,  244. 

G  mi.,  155,244. 

Vivaldi  Concertos,  71,  155, 

261. 
Well-tempered   Clavier,   77, 

81,  125,  144,  145,  157,  161, 

231,  246  n.,  263,265,266, 

267  n.,  281. 

ORCHESTRAL  Music. 

Brandenburg  Concertos,  137 

n.,  157,  15&B-,  233,  242  n., 

275,  276.  285. 
Overture  B  mi.,  137  n.,  158, 

242. 

C  ma.,  137  n.,  158,  242. 

D  ma. ,  137  n.,  158,  242. 

D  ma.,  137  n.,  158,242. 


INDEX 


BACH,  Johann  Sebastian  (contd.  )— 
ORCHESTRAL  MDSIC  (contd.)— 
Sinfonia  F  ma.,  137  n.,  242. 
Suites.     See  Overture. 
Clavier  and  Orchestra  :— 
Concerto  A  ma.,   130  n., 
160,  233,  281. 

Dma.,130n.,  158  n., 

160,  233,  281. 

Dmi.,  130  n.,  158  n., 

160,  233,  281,  285. 
E  ma.,    130  n.,    160, 

233,  281. 

Fma.,  130  n.,  158  n., 

160,  233,  281. 

F  mi.,  130  n.,  158  n., 

160,  233,  281. 

Gmi.,  130 n.,  158  n., 

160,  233,  281. 
Overture  G  mi.,  131  n., 

265. 

Two    Claviers    aud    Orches- 
tra:— 

Concerto  C  ma.,  131,  160, 
235 

C  mi.,  131,  160,235. 

C   mi.,    131,    158  n., 

160,  235. 

Three  Claviers  and  Orches- 
tra:— 

Concerto  C  ma.,  132,  160, 
242,  281. 

D  mi.,  132,  160,  242, 

281. 

Four    Claviers  and  Orches- 
tra:— 

Concerto  A  mi.,  132,  160, 

262. 
Violin  and  Orchestra:— 

Concerto    A  mi.,    137  »., 
158,  234,  267  n. 

(2  violins)  D  mi.,  137 

«.,  158,  160n.,235. 

E   ma.,  137   n.,    158, 

234,  273. 

Gma.,  158  n. 

lost  work,  160  ?i. 

Symphonic    movement    I) 

ma.,  137  n.,  235. 
Violin,   Flute,   Clavier    and 

Orchestra  :— 
Coucerho  A  mi..  160,  233. 

ORGAN  MDSIC. 

Air  C  mi.  (incomplete),  262. 
Allabreve  D  ma.,  156,  247. 


315 

Aria  Fma.,  156,  247. 
CanzonaDmi.,  156,247. 
Fantasia  C  ma.,  156,  247. 
C     ma.      (incomplete), 

247,  262. 

Cmi.,  156,247. 

G  ma.,  155,  '247. 

—  G  ma.,  155,  247. 
Con     Imitazioue,     156, 

246. 
Fantasia  and  Fugue  A  mi., 

155,  246. 

C  mi.,  156,  232. 

G  mi.  (Great),  158, 232, 

281. 

Fugue  B  mi.  (Corelli),  154, 
247. 

C  ma.  (Short),  156,  245. 

Cma.  (?  J.  S.  B.),  247. 

Cmi.,  14  n.,  154,247. 

C  mi.  (Legrenzi),  154, 

247. 

C  mi.  (incomplete),  247. 

Dma.,  154,247. 

D  mi.  (Giant)  161,  228. 

Gma.,  154,247. 

Gma.,  154,247. 

Gmi.,  154,247. 

G  mi.  (Short),  156,  247. 

Kleines  harmonisches  Laby- 
rinth, 154  n.,  247. 

Orgelbiichlein,  20  n.,  60  n., 

156,  237,  239,  269. 
Passacaglia  and  Fugue,  155, 

232. 

Pastorale,  136  n.,  155,  247. 
Pedal  Exerciie,  247. 
Preludes  :— 

Catechism,  161,  227. 

Choral,  21, 27  n..  122  n.,  123, 
237,  256  ff.,  262, 263, 265. 

Eighteen,  135,  162,239. 

Schiibler,  117,  162,238. 

Ami.,  164,247. 

Cma.,  154,  -J4r>. 

C  ma.,  166,  247. 

Gma.,  156,247. 
Preludes  and  Fugues : — 

Eight  Short,  156,  246. 

A  ma.,  156,232. 

A  mi.  (Great),  134 n.,  156, 
232. 

A  mi.  (Short).  154,  246. 

Bmi.  (Great),  134  n.,  161, 
232. 

Cma.,134n.,  160,232. 


316 


JOHANN  SEBASTIAN  BACH 


BACH,  Johann  Sebastian  (contd. ) — 
ORGAN  Music  (contd.) — 
Preludes  and  Fugues  (contd. ) — 
Cma.,  154,  232. 
C  ma.,  156,  231. 
Cma.,  (Great),  134  n.,  161, 

232. 

Cmi.,  14  n.,  154,246. 
Cmi.  (Great),  134  n.,  156, 

232. 

Dma.,  156,231. 
DmL,  134n.,  160,232. 
E  mi.  (Great),  134  n.,  161, 

232. 
Emi.  (Short),  134  n.,  156, 

231. 

E  flat  ma.,  161,227. 
Fmi.,  156,232. 
G  ma.,  156,  246. 
Gma.  (Great),  134  n.,  160, 

232. 

Gmi.,  134  n.,  156,232. 
G   mi.   (Great),  158,   232, 

281. 
Six     Sonatas    (Trios),     136, 

160,  231. 

Toccatas  and  Fugues : — 
C  ma.  (Great),  156,  232. 
Dmi.,  156,232. 
D    mi.   (Dorian),   134    n., 

156,  232. 
E  m». ,  154,  232. 
F  ma.  (Great),  134  n.,  156, 

232,  280. 

Trio  Cmi.,  136  n.,  156,247. 
—  D  mi.,  136  n.,  156,247. 
Variations : — 
Ach,  was  soil  ich,  259. 
Allein  Gott  in  der  Hoh, 

259. 
Christ,   der  du  bist,  155, 

258. 
O  Gott,  du  frommer  Gott, 

155,  258. 

Sei  gegriisset,  155,  258. 
Vom   Himmel  hoch,    112, 

120,  162,  258. 

Vivaldi  Concertos,  155,  247, 
279. 

VOCAL  Music. 
Cantatas : — 

Church ,  libretti ,  1 63  ff. ,  277, 
281  ;  in  chronological 
numeration,  187  ff.  ;  in 
numerical  order,  226, 


227,  228,  229,  230,  231, 
232,  233,  234,  235,  236, 
240,  241,  243,  244,  246, 
260;  N.B.G.  vocal  scores, 

269,  272,  274,  280,  284 ; 
thematic  catalogue,  240, 
268 ;    incomplete    or    of 
doubtful      authenticity, 
260;  Soprano  Arias  (with 
instrumental   obbligati), 

270,  278;    Alto    Arias 
(with    instrumental    ob- 
bligati),   271,   282;    So- 
prano   and  Alto    Duets 
(with    instrumental    ob- 
bligati),      272 ;      Tenor 
Arias  (with  instrumental 
obbligati),     275 ;      Bass 
Arias  (with  instrumental 
obbligati) ;     276 ;      Ein' 
feste    Burg,     xvii,   272 ; 
Gott  ist  moin  Konig,  115 
n.,   116  n.  ;  Mein  Herze 
schwimmt  im  Blut,  278  ; 
Nach    dir,    Herr,    281; 
Nun  komm,  der  Heiden 
Heiland,  17  «. 

Funeral,  22,  139. 

Italian,  139,  161,  241. 

Secular,  37,  43  ff.,  68  n., 
142,  155,  156,  159,  161, 
230,  234,  241,  243;  So- 
prano Arias  from,  279; 
article  on,  284. 

Wedding,    139,   158,   231, 

260. 

Choralgesange,    editions    of, 

85,   123;   C.P.E.    Bach's 

collection,     248     ff.  ;    in 

A.  M.  Bach'sNotenbuch, 

253   ff.,    263;    in    Sche- 

melli's  Gesang-Buch,  253 

ff.  ;     arranged  as    Arias 

andforS.A.T.B.,268. 

Kyrie  Eleison,  260. 

Magnificat  in   D,    xvii,  158, 

230  ;  lost  work,  158  n. 
Masses : — 

in  A  ma.,  138n.,  161,  229. 

inBmi.,  138  n.,  158,229. 

in  Gma.,  138  n.,  161,  229. 

in  Gmi.,  138  n.,  161,  229. 

inFma.,  138  n.,  161,  229. 

in  G  (8  parts),  141  n. 
Motets,  publication  of,  xii  ; 
Mozart  and  the,  58  n.  ; 


INDEX 


317 


BACH,  Johann  Sebastian  (contd.)— 
VOCAL  Music  (contd.  )— 

Forkel's  enumeration  of, 
139,  158,  248 ;  article  on, 
280;Iculas8edichnicht, 
5n.,  141  n. 
Oratorio*  :— 
Ascension,  160,  227. 
Christmas,  138  n.,  228, 274. 
Easter,   138  n.,   160,   215, 

235. 

Passions : — 
St.    John,    xviii,    138  n., 

158,  230. 

St.  Luke,  1 38  n.,  267,  279. 
St.    Matthew,   xvii,   xviii, 
22  n.,  138  n.,  158,  228, 
260,  276,  283. 
Sanctut  .•— 

inCma.,  139,  158,230. 
inDma.,  139,  158,230. 
inDma.,  141,260. 
inDmi.,  138,  158,230. 
inGma.,  138,  158,230. 
Schemelli'sGesaug-Buch,  160, 

253. 

Songs,  humorous,  91  n.  ;  in 
A.  M.  Bach's  Notenbuch, 
256,  263-268;  from  the 
Church  Cantatas,  270,  271, 
272,  275,  276,  278,  282; 
from  the  secular  Cantatas, 
279. 
Trauer-Ode,  22  n.,  90,  138, 

158,  179,  231. 
Art  of  Fugue  (Die  Kunst  der 

Fuge),  J21,  162,236. 
Musical    Offering    (Musikal- 
isches  Opfer),  26,  120,  161, 
162,  242. 
Johann    Sebastian    (b.    1748), 

3  n.,  279,  309. 
Johann  Valentin,  306. 
Johanna  Caroline,  176,  310. 
Johanna  Juditha,  307. 
Johannes,  303,  305. 
Jonas,  3n.,304. 
Kathariua  Dorothea,  167,  309. 
Leopold  Augustus,  309. 
Lips  (d.  1620),  2  n.,  3  n.,  303 

(d.  1620),  304. 

Maria  Barbara,  14  n.,  308,  309. 
Maria  Katharina,  308. 
Maria  Salome,  307. 
Marie  Sophie,  308. 
Nikolaus  Ephraim,  304. 


BAOH  (contd.)— 

Regine  Johanna,  310. 

Regine  Susanna,  48,  310. 

Samuel  Anton,  103  n.,  304. 

Tobias  Friedrich,  307. 

Veit,  1,  303. 

Wendel,  3n.,  304. 

Wilhelm  Friedemann,  xxi,  23, 
48,61,  100,  104,  110,  111,  127, 
136,  146  n.,  262,  277,  279,  309. 

Wilhelm  Friedrich  Ern«t,  285, 
310. 

Wilhelm  Hieronymus,  305. 

Bach  •  Archives,'  4,  5. 

Festivals,  i>23,  268,  270,  271, 

273,  274,  276,  279,  282,  286. 

Genealogy,  1  n.,  284,  286. 

Museum,  at  Eisenach,  225, 

279. 

Bachgesellschaft,  225  ff.,  267. 
Bartholomai,  Barbara  Margaretha, 

306. 

Baurath,  Anna  Amalia,  308. 
Becker,  Carl  F.,  226,  227. 

Cornelius,  199,  212. 

Beethoven,  Ludwig  van,  xxviii  n., 

xxix  n.,  85  n. 

Behm,  Martin,  185,  211,  216. 
Behn,  F.,  284. 
Benda,  Franz,  109. 
Berardi,  Angelo,  98. 
Berlin,  xvii.,  23,  65,  102,  109,  136, 

140,  141  n.,  142  n.,  225. 
Berlioz,  Hector,  70  n. 
Biebrich,  Th.,  281,  283,  285. 
Bienemann,  Caspar,  198,  204. 
Birnbaum,  Johann  A.,  45,  68  n. 
Blanken ha in,  306. 
Bohm,  Georg,  11,  12  n.,  72,  275. 
Bordoni,  Faustina,  111. 
Brandenburg-Culmbach ,     Albrecht 

Margrave  of,  199,  202,  217. 
Brandt,  Anna  Margaretha,  306. 
Breitkopf,  Job.  Gottlieb,  279,  285. 
Breslau,  225. 
British  Museum,  126. 
Bruhns,  Nikolaus,  10,  72. 
Brunswick,  108  n. 
Buchmayer,  Richard,  274,  275. 
Buckeburg,  310. 
Bunge,  Rudolf,  272. 
Buononcini,  Giovanni  Maria,  99. 
Burgolt,  Sabina  Katharina,  305. 
Burney,  Dr.  Charles,  xxxi  n. 
Buttelstadt,  103  n. 
Buxtehude,  Dietrich,  10, 14, 72, 276. 


318 


JOHANN  SEBASTIAN  BACH 


CALDABA,  ANTONIO,  109. 

Carissimi,  Giacomo,  4  n. 

Cassel,  16  n. 

Celle,  13. 

Chemnitz,  225. 

Choral  Cantata,  the,  182. 

Christiane  Eberhardine,   Queen  of 

Poland,  90,  138  n. 
Clavicembalo,  52  n.,  58. 
Clavichord,  52  n.,  55  n.,  58. 
Clavier,  49  if.,  93  ff. 
Collegium    Musicum,  the    Leipzig, 

30ff.,42tf. 
Cothen,  22,  90,  110, 125,  128  n.,  137 

n.,  156,  158  «.,  172,  192, 272,  310. 
Couperin,  Francois,  18,  55,  56  n., 

263. 
Cruciger,     Elisabethe,     190,     193, 

194,  221. 

DACHSTKIN,  WOLFGANG,  21. 

Dannreuther,  E.,  276. 

David,  J.  M.,  286. 

Denicke,  David,  196,  201,  209,  214. 

'  Der  Thomaskantor,'  285. 

Dieupart,  Charles,  128  n. 

Dobereiner,  Christian,  279. 

Doles,  Johann  Friedrich,  90,  104  n. 

Dorffel,  Alfred,  226,  236,  240,  242, 

244,  246,  260,  264,  267. 
Dornheim,  166. 
Dresden,  xviii,  18,   101,  109,  110, 

127,  136,  309. 

Drese,  Johann  Samuel,  20  n. 
Duisburg,  225. 

EBELEBBN,  308. 
Eber,  Paul,  195,  216,  218,  221. 
Ebert,  Jakob,  199,  212,  224. 
Eilmar,  Georg  Christian,  167,  168, 

185,  187,  188. 

Einicke,  Georg  Friedrich,  104  n. 
Eisenach,  6,  7,  9,  47  n.,  169,  170, 

172,  225,  283,  286,  305,  306,  307, 

308. 

Eisentraut,  Martha  Elizabeth,  306. 
Eitner,  Robert,  xxxi  n.,  25  n. 
Erdmann,  Georg,  11. 
Erfurt,  7, 47, 103, 303, 305, 306, 308. 
Ernesti,  Johann  August,  44. 

Johann  Heinrich,  39. 

Erselius,  J.  C.,261. 

FETIS,  Joseph,  20  n. 
Fischer,  Johann  C.  F. ,  10,  72. 
Kaspar,  Fred.,  277. 


Flemming,  Count,  19. 

Paul,  200,  211,  215. 

Forkel,   Johann    Nikolaus,  ix    ff., 

xxiv  ff.,   77  n.,  89  n.,    115  n., 

144  n.,  285. 

Franck,  Johann,  195,  196,  208,  222. 
Michael,  222. 

Salomo,    165,    171,    177,   180, 

184,  185,  189,  190,  191,  192,  194, 
197,  198,  200,  202,  204,  211. 

Frankenhausen,  104  n. 

Frankfort,  xviii. 

Frederick  i.,  King  of  Sweden,  17  n. 

n.,  King  of  Prussia,  xxiv  n., 

23,  104  n.,  109  n.,  120,  121  n. 
Frescobaldi,  Girolamo,  72. 
Freystein,  Johann  Burchard,  222. 
Friese,  Heinrich,  21. 
Fritsch,  Ahasuerus,  216,  223. 
Froberger,  Johann  Jakob,  10,  72. 
Fuger,  Caspar,  189,  195,  223. 
Fux,  Johann  Joseph,  99,  109. 

GANDBKSHEIM,  304. 
Gehren,  5,  305,  308. 
Gerber,  Ernst  Ludwig,  xv. 

Heinrich    Nikolaus,    94    n., 

103  n. 

Gerhardt,  Paul,  194,  195,  196,  202, 

203,  212,  213,  214,  217. 
Gesner,  Johann  M.,  41. 
Gigas,  Johannes,  221. 
Gluck,    Christoph    Willibald   von, 

xxviii  n. 

Corner,  Johann  Gottlieb,  31. 
Gottingen,  x. 
Goldberg,    Johann    Gottlieb,    101, 

119. 
Gottsched,     Professor   J.    C.,    45, 

179,  185,  203. 

Grabler,  Maria  Magdalena,  303. 
Grabner,  Christian,  104  n. 
Grasai,  Cecilia,  310. 
Graumann,  Johann,  200,  207,  216. 
Graun,  Carl  Heinrich,  xxiv  n.,  109. 

Johann  Gottlieb,  109. 

Graupner,  Christoph,  282. 
Greiner,  Daniel,  283. 
Greulich,  Karl,  271. 
Grossgebauer,  Philipp,  168,  188. 
Griienwald,  Georg,  200. 
Grunsky,  Karl,  281. 
Gundersleben,  305. 

HALT.H,  16,  17  n.,  103  n.,  277,  304, 


INDEX 


319 


Hamburg,  ix,  xxi  n.,  12,  21,   109, 

309. 

Handel,  Georg  Friedrich,  xii,  xxiv 
n.,   xxix  n. ,  xxx,  19  n.,  25  n., 
27  n.,  53  n.,  83,  84  n.,  86,  107  n., 
109,  110,  111  n. 
Handke,  Robert,  276,  277. 
Hartwig,  Carl,  104  n. 
Hase,  Hermann  Ton,  279,  282. 
Hasse,  Johann  Adolph,  109,  110. 
Hauptmann,  Moritz,  226,  227,  229. 
Haussmann,  Elias  G.,  47,  279,  283, 

286. 

Heerman,   Johann,    187,   189,   190, 
193,  194,  200,  201,  203,  204,  205, 
207,  214,  215,  220. 
Heitmann,  Johann  J.,  21  n. 
Helbig,  Johann  Friedrich,  165,  172, 

185,  192,  193. 
Helmbold,  Ludwig,  198,  199,  215, 

224. 

Henrici,    Christian    Friedrich,   45, 
138  n.,  141,  165,  175,  177  ff.,  183, 
184,  198,  199,  200,  201,  202,  203, 
204,  205,  206,  207,  215,  216,  217, 
218,  219,  220,  221,  222,  223. 
Herberger,  Valerius,  210. 
Herda,  Elias,  12. 
Herman,   Nikolaus,   187,   190,  199, 

203,  210,  224. 
Hermann,  Johann,  198. 
Herthum,  Christoph,  308. 
Heuas,  Alfred,  271,  275,  282. 
Hiller,  Johann  Adam,  xiv,  xxx  n. 
HirschiDg,  Carl  Gottlieb,  xv. 
Hof,  Dorothea  von,  307. 
Hofman,  Richard,  285. 
Hoffmann,  Barbara,  303. 

Eva,  303. 

Johann  C. ,  45. 

Hoffmeister,  Franz  Anton,  xi,  xxv. 
Homborg,  Ernst  Christoph,  212. 
Homilias,  Gottfried   August,   101, 

284. 

Hubert,  Conrad,  220. 
Hurlebusch,  Heinrioh  Lorenz,  108. 

ISLE,  Johann  Jakob,  47. 
Isserstedt,  308. 

JANUS,  Martin,  191,  196. 
Jena,  308,  309. 
Joachim,  Joseph,  273. 
Jonas,  Justus,  220. 

KAISIRLING,  Count,  101  n.,  119. 


Keimanu,  Christian,  191,  195,  196, 

202,  217. 

Keiser,  Reinhard,  83,  109. 
Keller,  Hermann,  281. 
Kerl,  Johann  Caspar,  10,  72. 
Keula,  306. 

Kirchhoff,  Gottfried,  17. 
Kirnberger,  Johann  Philipp,  74  n. , 
93  n.,  99,  102,  123  n.,  124,  142, 
242  n.,  256. 
Kittel,  Johann  Christian,  47,  103. 

Knoll,  Christoph,  190. 

£.6nig,  Anna  Margaretha,  305. 
Konigsberg,  101. 

Kolross,  Johann,  202. 

Korabinaky,  Johann  M.,  2  n. 
Kortte,  Gottlieb,  43. 

Krebs,  Johann  Carl,  103  n. 

Johann  Ludwig,  101,  257. 

Johann  Ludwig  (junr. ),  103  n. 

Johann  Tobias,  103  n. 

Kretzschmar,  Hermann,  226,  264, 
267,281,286. 

Kroll,  Franz,  226. 

Kriil,  Anna  Margaretha,  308. 

Kiihnel,  Ambrosius,  xi,  xxv. 

Kuhnau,  Johann,  21 ,  30. 

Kurth,  Ernst,  286. 

Kurzwelly,  Albrecht,  283. 

LAHM,  306. 

Lammerbirt,  Hedwig,  303. 

Elizabeth,  306,  307. 

Tobias,  168,  188. 

Landowska,  Wanda,  277,  281. 

Lange,  Sibylla,  308. 

Leipzig,  17  n. ,  21  ff.  ;  29  ff.  ;  101 «., 
104  n.,  116  n.,  119,  121  n.,  125  n., 
138  n.,  141  n.,  158,  163  ff.,  173, 
174  ff.,  193  ff.,  225,  279,  282,  310. 

Libretti,  the  Cantata,  163  ff.,  277, 
281. 

Lippe,  Count  von,  310. 

Liscow,  Salomo,  214. 

Liszewski,  C.  F.  Rr.,  47  n. 

Lobenstein,  69. 

Liibeck,  14. 

Luneburg,  ix.,  11,  12  n. 

Luther,  Martin,  186,  188,  189,  191, 
192,  193,  195,  196,  197,  198,  204, 
205,  206,  208,  210,  212,  216,  218, 
219,  222,  223. 

MANDYOWEWSKI,     Ensebius,     270, 
271,  272,  275,  276,  278,  279,  282. 
Marcello,  Benedetto,  261. 


320 


JOHANN  SEBASTIAN  BACH 


Marchand,  Louis,  17,  107. 
Marpurg,  Friedrich  Wilhelm,  xiii, 

12  ».,  121. 

Martiensen,  C.  A.,  280. 
Mattheson,  Johann,  ix,  xiii. 
Meiningen,  103  n.,  304. 
Mendelssohn,  Felix,  xvii. 
Mersmann,  Hans,  286. 
'  Messiah,'  the,  xxx  n. 
Meusel,  Wolfgang,  206. 
Milan,  310. 
Mizler,  Lorenz  Christoph,  xiv,  xxiv, 

xxx. 
Moller,  Martin,  196,  200,  211,  217, 

220,  223. 

Moser,  Hans  Joachim,  285,  286. 
Mozart,    Wolfgang  Amadeus,   xii, 

xxviii  n. ,  xxix  n. ,  58  n. ,  90  n. ,  96, 

105  n. 
Miilhausen,  15,  115  n.,  166  ff.,  187, 

188,  308,  309. 
Miiller,  August  F.,  43. 

Heinrich,  213. 

Miithel,  Johann  Gottfried,  102. 

NAUMANN,   Ernst,   226,  243,  244, 

246,  256,  260,  268,  269. 
Naumburg,  102,  310. 
Neander,  Joachim,  210,  224. 
'  Nekrolog,'  the,  xxiv. 
Nelle,  Wilhelm,  273. 
Neu,  Karl,  276. 
Neumann,  Caspar,  201,  203. 
Neumark,   Georg,    189,    202,   209, 

216. 
Neumeister,  Erdmann,  165,  168  ff., 

180,  184,  185,  188,  189,  193,  208, 

216. 

Nichelmann,  Christoph,  104  n. 
Nicolai,    Philipp,    189,    197,    202, 

205,  208,  209,  218. 
W.,283. 

OEHRINGEN,  307. 

Ohrdruf,  10,  306. 

Olearius,  Johannes,  209,  216. 

Oppel,   Reinhardt,   273,   274,   276, 

PACHELBEL,  Johann,  10,  72,  131. 
Peter,  Anna  Dorothea,  304. 
Peters,  Carl  Friedrich,  xxviii. 
Petrograd,  137  n. 
Pfefferkorn,   Georg   Michael,    195, 

214. 
Picander.     See  Henrici,  C.  F. 


Polchau,  G.,  In.,  4  n. 
Potsdam,  26. 
Prettin,  303. 
Priifer,  Arthur,  284. 
Purcell,  Henry,  72  n.,  261. 

QUANTZ,  Johann  J. ,  66. 
Quodlibet,  7,  118. 

RAMBACH,     Johann    Jakob,     194, 

205. 
Reinken,    Johann  Adam,    12,   21, 

72,  153  n.,  260  n. 
Reissner,  Adam,  188. 
Reitz,  Robert,  285. 
Richter,    Bernhard    F.,    269,   272, 

273,  274,  279,  280,  282,  284. 

J.  C.,266. 

Rietschel,  Georg,  270,  273. 
Rietz,  Julius,  226,  228,  229. 
Riga,  102. 

Ringwaldt,      Bartholomaus,      187, 

199,  201,  220. 
Rinkart,  Martin,  210,  215. 
Rist,  Johann,   200,   201,  209,  210, 

213,  214,  221. 

Rochlitz,  Johann  Friedrich,  xvii. 
Rodigast,   Samuel,    193,    197,    199, 

210,  211,  215. 
Rome,  309. 
Rotterdam,  308. 
Rube,  Johann  Christoph,  222. 
Ruhla,  304. 
Rust,  Wilhelm,  226,  228,  229,  230, 

231,  232,  233,  234,  235,  236,  237, 

240. 

SACBB,  Gottfried  Wilhelm,  213. 
Sache,  Hans,  192,  221. 
Sangershausen,  309. 
Saxe- Weimar,  Duke  Ernst  August 

of,  20  n.,  112n. 

Duke  Johann  Ernst  of,  261. 

Duke  Wilhelm  Ernst  of,   16, 

20  n. 

Scarlatti,  Domenico,  107. 
Schalling,  Martin,  206,  208. 
Scheibe,  Johann  Adolph,  68. 
Schelble,  Johann  Nepomuk,  xviii. 
Schering,   Arnold,    271,   272,   273, 

274,  276,  277,  278,  280,  281,  283, 
284,  285,  286. 

Schicht,  Johann  Gottfried,  xi. 
Schmidt,  Anna  Margaretha,  305. 

Balthasar,  118. 

Susanna,  305. 


INDEX 


321 


Schmied,  Anna,  303. 
Schneegass,  Cyriacus,  219,  224. 
Schneesing,  Johannes,  220. 
Schneider,  Johann,  104  n. 
Max,  272,  273,  274,  276,  278, 

279,  280,  284,  285. 
Schuurr,  Balthasar,  201. 
Schober,     Magdalena     Christian*, 

306. 

Schreck,  Gustav,  269,  286. 
Schubart,  Johann  Martin,  XT,  103. 
Sohiibler,  Johann  G.,  117. 
Schunemann,  Georg,  283,  285. 
Schiitz,  Johann  Jakob,  211. 
Schumann,  Richard,  98  n. 
Schweinfnrt,  103  n.,  306. 
Schwarzburg  -  Arnstadt,  Count  of, 

3. 
Schwarzburg  -  Rudolatadt,     Emilie 

Juliane  of,  199,  206,  208. 
Schwerin,  ix. 
Seffner,  Carl,  268,  274. 
Seiffert,  Max,  271,  272,  27S,  274, 

275,  276. 

Selnecker,  Nikolaus,  215. 
Siebigke,  A.  E.  L.,  XT. 
Silbermann,  Gottfried,  25. 
Sonderehausen,  103  n. 
Sorge,  Georg  Andreas,  69. 
Spongier,  Lazarus,  188,  209. 
Speratus,  Paul,  191,  194,  200,  207. 
Stauber,  Johann  Loreni,  166,  188. 
Steglich,  Rudolf,  284. 
Steinbach,  304. 
Steltzel,  267. 
Stephenson,  John,  xxi  n. 

Rowland,  xx. 

Stockmann,  Paul,  190,  203. 

Stockholm,  307,  308. 

Storm  thai,  194. 

Straube,  Rudolph,  104  n. 

Strungk,  Delphin,  72. 

Snhl,  303. 

Swicten,  Baron  van,  xii. 

Syring,  Juditha  Katharina,  305. 

TAUBMANN,  Otto,  272. 

Taylor,  John,  26  n. 

Telemann,  Georg  Philipp,  30,  109, 

170. 

Themar,  306. 
Tietae,  Christoph,  198. 
Tinel,  Edgar,  275. 
To«i,  Pier  Francesco,  102. 
Transchel,  Christoph,  101. 


UNTEB-ZIMMXBM,  305. 
Uttstadt,  307. 

VMNHA,  225. 

ViTaldi,  Antonio,  71,  132,  149,  261, 

262  n. 

Vogler,  Johann  Caspar,  100. 
Voigt,  Wilhelm,  272. 

Woldemar,  274,  280,  284. 

103. 

Volbach,  Professor  Fritz,  47,  103, 

270,  272. 
Volumier,  Jean-Baptiste,  18. 

WAGNER,  Paul,  34,  165,  185. 

Richard,  xTii,  97  n. 

Waldersee,    Paul    Graf,   226,   241, 

242,  243,  262. 
Walther,    Johann    Gottfried,    XIT, 

57. 

Wechmar,  1  n.,  2,  303. 
Wegelin,  Josua,  213. 
Weigel,  Christopher,  117. 
Weimar,  XT,  13,  15,  57,  100,  103  *., 

155,  167  ff.,  188,  305. 
Weingartner,  Sigismund,  204. 
Weiss,  Christian,  45,  175n.,  176 ff., 

182,   185,  193,  194,  196,  198,  199, 

200,  201,  202,  204,  205,  206,  207, 

208,  209,  210,  212,  215,  220,  223. 
Christian    (junr.),    184,    214, 

217,  219,  222. 

Dorothea,  176. 

Weissenfels,  Duke  Christian  of,  22, 

112,  169,  310. 
Wesley,  Samuel,  xx. 
Wiedemann,  Katharina,  308. 

Maria  Elizabeth,  308. 

Wiegand ,  307. 

Wildenfels,  Anark  of,  197. 
Wolflheim,  Werner,  277,  278,  279, 

281. 

Wolfsbehringen,  304. 
Wulken,  Anna  Magdalena,  310. 
Wiillner,  Franz,  226,  248,  268. 
Wustmann,  Rudolf,  276,  279,  281. 

ZACHAC,  Friedrich  Wilhelm,  16. 
Zehler,  C.,277. 
Zelenka,  Johann  Dismaa,  109. 
Zelter,  Carl  Friedrich,  x,  XTII. 
Ziegler,  Caspar,  203,  214. 

Johann  Gotthilf,  103  n. 

Marianne    Ton,   45,   165,   180, 

184,  185,  212,  213,  214. 


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